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Filling the Gap in the Intermediate Cello Repertoire:
One Teacher Composes a Solution
by
Lisa Rebecca Caravan
Submitted in Partial Fulfillment
of the
Requirements for the Degree
Doctor of Musical Arts
Supervised by
Dr. Donna Brink Fox, Ph. D.
Music Education Department Eastman School of Music
University of Rochester Rochester, New York
2012
ii
CURRICULUM VITAE
Lisa Caravan was born in Oswego, New York on June 27, 1977. She attended
the Esther Boyer College of Music and Dance at Temple University in Philadelphia,
PA from 1996-2000. She graduated summa cum laude, earning a Bachelor of Music
degree in Music Education and Music Performance in violoncello, studying primarily
with Jeffrey Solow.
After graduation, Lisa moved to the Rochester, NY area, to begin teaching for
the Fairport Central Schools as a string instrumental music teacher. After four years
of teaching grade 4-9, Lisa entered a Master of Music (2007) degree in Performance
and Literature in violoncello at Eastman School of Music studying with Alan Harris.
In her second year of her degree Lisa auditioned successfully for the Orchestral
Studies Program and had the opportunity to play in the Rochester Philharmonic
Orchestra for two years.
In 2007 Lisa remained at Eastman School of Music to pursue a Doctor of
Music Arts in Music Education. As a teaching assistant in the music education
department, she supervised student teachers and assisted with string teacher
preparation courses. Lisa is the first recipient of the Donald Shelter Music Education
Prize (2009) and received Eastman's Teaching Assistant Prize for Excellence in
Teaching (2011).
During her residence in Rochester, Lisa taught at the Kanack Suzuki School
of Music and Hochstein School of Music and Dance, and maintained a private studio
for cellists of various ages. Lisa performed extensively throughout New York and
iii
held the assistant principal position of the Binghamton Philharmonic Orchestra in
Binghamton, NY from 2006-2011.
Lisa joined the faculty of the Music Department and Curriculum and Teaching
Department at Auburn University in 2011. She is the musical director of the Tiger
Strings Orchestra and Loachapoka Elementary Violin class. Lisa won first place for
the Faculty Forum Session for her presentation at Research Week 2012 at Auburn
University.
iv
ACKNOWLEDGEMENTS
I would first like to extend my thanks to Dr. Donna Brink Fox, my primary
advisor, for her guidance, support, and expertise throughout this process. I am
eternally indebted to Dr. Fox for the countless number of phone conversations and for
giving me encouraging words when most needed.
I send my deepest gratitude to my cello teacher and dissertation committee
member, Alan Harris. The love, dedication, and support you exude daily have shaped
me as a cello teacher and musician. Mr. Harris, you took a chance on me when I came
to take lessons with you in 2003. Thank you for guiding me to become the performer
I am today.
I also would like to thank Dr. John Fetter, dissertation committee member, for
his valuable contribution to this document. Thank you for your amazing editing skills
and supporting this project throughout my degree.
As for this project, it would not be possible without the many people that
provided information on Grace Becker Vamos. I thank Kathy Scott, Res Peters, Cory
Soltau, Kase Wierenga, and Ariel Whitbeck for providing personal letters, articles on
Vamos, and her music. I am grateful for Keiko Ying and her mother Lissa Forrey for
connecting me to the people that would make this dissertation a reality.
Finally, I would like to thank my friends and family for their support and
encouragement. Julie Beauregard, my Eastman colleague and friend, thank you for
sharing your own dissertation experience with me. The constant understanding from
Carolyn Day during this process was invaluable. I thank all my Rochester friends for
v
their love and support, especially Ana Bremer Mack for being there when I needed
her. And lastly, thank you to my parents for putting a cello in my hands and
believing in my ability to become a musician and educator.
vi
ABSTRACT
Cello instructors choose repertoire that addresses appropriate technical and
musical demands to develop a strong foundation in each student. Some educators
may find a gap in the known repertoire for the intermediate cellist. How cello
pedagogues have responded to this concern is the focus of this study. In the first
section of the dissertation I examine published studies that investigate aspects of
string pedagogy in general: intonation, tone production and vibrato, and then more
specifically, cello pedagogy. In reviewing writings by expert cello pedagogues,
Grace Vamos emerges as a case example of a teacher who composed a solution to
filling gap in the repertoire by providing pieces for the intermediate cellist. To
further study Mrs. Vamos’s contributions to the intermediate cello repertoire, a
qualitative approach is implemented to explore the life of Grace Vamos through the
analysis of historical documents, interviews with former students, and the analysis of
selected compositions in comparison with an example from the traditional
intermediate core repertoire. I respond to the need to contribute to the history of
American music education, provide historical research on a woman music educator,
and offer additional repertoire for the intermediate cellists that addresses specific
pedagogical and musical issues. The study concludes with recommendations for
expanding the visibility of Vamos’s compositions, to encourage other composers to
create pedagogical appropriate material and to persuade teachers to explore the
possibilities of other intermediate repertoire by other lesser-known composers.
vii
TABLE OF CONTENTS
Curriculum Vitae ii
Acknowledgements iv
Abstract vi
Table of Contents vii
List of Tables x
List of Figures xi
Chapter 1 Setting the Stage 1
Introduction 1
Related Literature 4
Introduction 4
String Pedagogy 6
Cello Pedagogy 12
Pedagogical Figures 19
A Case Study: Grace Vamos 21
Methodology 22
Chapter 2 Biography of Grace Becker Vamos 26 (April 17, 1898—March 25, 1992)
Students as Family 30
Vamos as Teacher 31
Vamos as Composer and Collaborator 33
Vamos as Mentor 42
Chapter 3 A Theoretical Analysis of Selected Intermediate Cello Concertos 48
viii
Introduction to Analysis 48
Theoretical Analysis of Goltermann Concerto No. 4 50
Theoretical Analysis of Vamos Concertos 51
Chapter 4 Pedagogical Comparative Analysis of Goltermann and Vamos 58 Concertos
Left-Hand Technique 58
Variety of Bowing Techniques 60
Performance Practice of Chords through Notation 63
Variety of Pizzicato 65
Extended Techniques 67
Developing Musicianship and Interpretation 68
Chapter 5 Conclusions and Recommendations 72
Conclusions 72
Recommendations 75
REFERENCES 77
APPENDICES
APPENDIX A: Interview Questions 83 APPENDIX B: Transcribed Letters from Grace Vamos to 87
Kathryn Scott APPENDIX C: Other Transcribed Letters 120
APPENDIX D: List of Published Original Cello Compositions 124 by Grace Becker Vamos
APPENDIX E: List of Published Cello Arrangements 126
by Grace Becker Vamos
ix
APPENDIX F: List of Other Published Compositions 128 by Grace Becker Vamos
APPENDIX G: Analytical Table: Concerto No. 4 in G major, 130 op. 65 Georg Goltermann
APPENDIX H: Analytical Table: Concerto in D minor 136 Grace Vamos
APPENDIX I: Analytical Table: Concerto in E minor 142 Grace Vamos
x
LIST OF TABLES
Table Title Page
Table 1 Vamos Pieces Referenced in Cited Letters 34 Table 2 Standard Cello Repertoire Referenced by Grace Vamos 44
in her Letters
Table 3 Summary of Pieces for the Intermediate Cellist Found 50 in Repertoire Lists
Table 4 Form: Concerto No. 4 in G major Goltermann- 51
Movement I Table 5 Form: Concerto No. 4 in G major Goltermann- 51
Movement II Table 6 Form: Concerto No. 4 in G major Goltermann- 51
Movement III Table 7 Form: Concerto in D minor Vamos-Movement I 52 Table 8 Form: Concerto in D minor Vamos-Movement II 52 Table 9 Form: Concerto in D minor Vamos-Movement III 53 Table 10 Form: Concerto in E minor Vamos-Movement I 53 Table 11 Form: Concerto in E minor Vamos-Movement II 53 Table 12 Form: Concerto in E minor Vamos-Movement III 53
xi
LIST OF FIGURES
Figure Title Page
1 Promotional Brochure: Grace Vamos and quote 29 by Pablo Casals.
2 Handwritten excerpt by Vamos in letter to Kathy Scott on 37 March 27, 1979. 3 Length of concerto movements by measure numbers. 52
4 Excerpt from Vamos’s Manuscript of Movement I, 55
“Betty Rae Concerto.”
5 Dedication Page of Concerto in E minor 56 from Vamos to Peters.
6 Cory Soltau and Betty Rae, December 1962, 57 Walnut Creek, CA.
7 Vamos Concerto in D minor-Movement I, Mm. 20-32. 59
8 Goltermann Concerto No. 4-Movement I, Mm. 103-108. 59
9 Vamos Concerto E minor-Movement I, Mm. 46-47. 60
10 Vamos Concerto E minor-Movement I, Mm. 52-53. 61
11 Vamos Concerto in E minor-Movement I, Mm. 58-60. 61
12 Goltermann Concerto No. 4-Movement III, Mm. 388-395. 62
13 Goltermann Concerto No. 4-Movement III, Mm. 412-426. 62
14 Vamos Concerto in D minor-Movement III, Mm. 150-157. 63 15 Goltermann Concerto No. 4-Movement III, Mm. 176-183. 63 16 Vamos Concerto in D minor-Movement I, Mm. 39-42. 64 17 Vamos Concerto in D minor-Movement II, Mm. 24-25. 64
xii
18 Rabaud: Méthode, Excerpt from the Cambridge 65 Companion to the Cello of written chords and the execution of chords. 19 Goltermann Concerto No. 4-Movement III, Mm. 454-459. 65 20 Vamos Concerto in D minor-Movement II, Mm. 26-27. 66
21 Vamos Concerto in D minor-Movement II, Mm. 28-29. 66 22 Vamos Concerto in D minor-Movement II, Mm. 37-38. 67
23 Vamos Concerto in D minor-Movement II, M. 40. 67
24 Vamos Concerto in D minor-Movement I, Mm.79-82. 68 25 Vamos Concerto in E minor-Movement I, Mm. 86-88. 68 26 A-theme of Movement III, Vamos Concerto in E minor. 69
27 B-theme of Movement III, Vamos Concerto in E minor. 70
28 Cadenza from Movement III, Vamos Concerto in E minor. 70
1
Chapter 1
Setting the Stage
Introduction
As a cello teacher in the private and public school sector using traditional and
Suzuki approaches for the past 14 years, I have used repertoire that my former cello
teachers used with me, followed the sequence provided in the Suzuki volumes, and
asked fellow colleagues for suggestions regarding supplemental repertoire. In my
experience, the sound and character of a piece triggers a positive or negative response
from a student, and if a student has a positive reaction, the student is then more
motivated to learn the piece. As a teacher, I look for pieces that are pedagogically
appropriate for the level of a particular student in terms of left- and right-hand
technique and musicality. Based on my experience, the pedagogical issues facing the
intermediate cellist include: tone production, vibrato, expanding the positions and
shifting on the instrument, variety of bowing techniques, finger facility/velocity,
rhythmic complexities, and developing musicianship.
When I was in tenth grade, I worked on one movement from one piece for an
entire year. Looking back on the experience, the first movement from the Boccherini
Cello Concerto in B-flat was too difficult for me, and to this day I have negative
memories when I hear that concerto. My cello teacher during my undergraduate work
at Temple University, Jeffrey Solow, chose repertoire that pushed me but was the
appropriate level and prepared me for more challenging repertoire by the same or
2
similar composers. For example, the first Beethoven sonata I learned was the
transcription of the Sonata for Horn and Piano, Op. 17 for cello and piano.
As my private studio grew in Rochester, NY, while working on my Masters
and Doctorate at Eastman School of Music, I attended Suzuki summer institutes and
received training in books one through three. During the book three training at the
Idaho Suzuki Music Institute in the summer of 2009, I stayed with fellow Eastman
student Keiko Ying’s (Forrey) parents. Near the end of my trip, my host opened the
file cabinet full of music played by Keiko and said to me, “Lisa, you may be
interested in this music.” We sat down and played through several compositions by
Grace Vamos, some easy and others more difficult. I noticed that the pieces sounded
interesting and were well written for the cello. My interest in the composer Grace
Vamos, began and the next day, I met a former student of Vamos, Kathy Scott, who
was Keiko’s first cello teacher. Scott gave me a stack of Vamos’s compositions and
arrangements for cello and piano. Scott also shared with me that the three-quarter
cello used by Keiko was provided by the Grace Vamos Scholarship Fund in 1990,
illustrating the ongoing connection between grand teacher-Vamos, teacher-Scott, and
student-Keiko.
Two pieces in particular caught my attention because of my own experience in
learning cello, and I thought to myself, I wish I had the chance to learn this music.
As I look back on my critical years of development as an intermediate cellist, I
wondered if I had studied the two student concertos by Vamos during my sophomore
year, instead of the first movement of the Boccherini concerto: (a) how would my
3
growth and progress be different? (b) would I have been motivated by the music to
practice? As I flew back to Rochester, NY, questions began to surface: What is the
background of Vamos? Why did she compose music for young cellists?
Vamos’s compositions have been recognized by a variety of professionals in
orchestra and academic settings. According to John R. Wright, former conductor of
the Diablo Youth Orchestra, Vamos “fills the gap” with her compositions: “A special
word of appreciation to the composer: I hope you realize how fine this composition
is and how significant are your attempts to fill the void in literature for the cello and
young performer” (Unpublished brochure, 1983). Professor Emeritus at University of
Alberta, Claude Kenneson echoes Wright’s sentiment: “The works of Grace Vamos
revealed genuine insight into the needs of cellists. The variety and scope are great;
the craftsmanship is masterful” (Unpublished brochure, 1983). Wright mentions a
“gap” and “void” in the cello literature. Is there a gap in the literature? Do other
teachers look for supplemental repertoire for their students?
In addition to the possible interest in repertoire and pedagogue, the fact that
Grace is a woman is of interest. Lamb, Dolloff, and Howe call for research on
women educators in the Handbook of Research on Music Teaching and Learning:
“much research still desperately needs to be done in order to add all of the facts that
could be discovered about women in music and music education” (Lamb, R., Dolloff,
L. A., & Howe, S., 2002, p. 656). In 2006 Sullivan interviewed Joan A. Lamb, Ohio
music teacher, at her home and over the phone to collect data on her contribution to
music education during World War II. Sullivan justifies the research by providing
4
evidence on the gap in music history of the untold stories of women and their
contributions to music education by citing George Heller and Bruce Wilson (as cited
in Sullivan, 2006):
Gaps remain in the present story of people, places, and ideas associated with
music teaching and learning. New interpretations of old subjects are needed,
especially to discover the role of ethnic and racial populations and women.
(Sullivan, 2006, p. 28)
Review of Literature
Introduction
Cello instructors choose repertoire that addresses appropriate technical and
musical demands to develop a strong foundation in each student. Many follow the
sequence provided in the Suzuki Cello Method or Rudolf Matz’s The Complete Cellist
(1974-1977), or refer to repertoire lists provided in resources such as the Royal
Conservatory of Music Cello Syllabus (1995), the American String Teacher
Association String Syllabus (1997), and The Cello Syllabus (1970) by Maria de Rungs
(Azair, 1997; Lee 2001). While there appear to be many resources for the cello
instructor, does the literature address every aspect of cello technique and musical
elements? The American Suzuki Journal (AMJ) has published several articles that
focus on the issue of supplementing the repertoire (Barrett & Wood, 2003; Casey,
1999; Reynolds, 2006; Tarr, 1997, 1998). Tarr (1997), a Suzuki teacher trainer, uses
supplementary repertoire if:
5
1) I feel a step is missing in the Suzuki literature, 2) the particular student needs more work at a certain level, 3) the student is entering a festival and needs music from a different period, 4) it is time to do something fun and different. (p. 48)
Barrett and Wood (2003) further extend these reasons by referring to the preferences
of the student: “Pieces outside the Suzuki literature can both refine and augment the
students’ skill base, and can also offer the opportunity to tailor pupils’ repertoire to
their personalities and interests” (p. 60).
The idea of supplemental repertoire extends past the Suzuki method. During
the American String Teachers Association Conference in Kansas City in 2006,
Hamelin presented a poster addressing the development of the intermediate cellist,
titled “How to Avoid Hitting the Wall: Supplementary Intermediate Cello Literature”
(Hamelin, 2006). Hamelin believes “lesser-known repertoire can prepare students for
challenging technical and musical elements for future performances of advanced
concerti” (p. 2) and “using the same repertoire over and over to try and fill every gap
in all of your students playing is impossible” (p. 2). Hamelin asked, “Why use the
same repertoire over and over for each student when there is wealth of cello repertoire
out there that is begging to be played?” (p. 2). Where is this repertoire by the lesser-
known composers that addresses specific technical and musical issues of the
intermediate cellist?
The review of literature explores and summarizes the music education
research focusing on string pedagogy. More specifically, the content emphasizes
cello pedagogy and important pedagogical figures in string education.
6
String Pedagogy
Perkins (1993) compared violin-playing techniques in the methods of Kato
Havas, Paul Rolland and Shinichi Suzuki, three individuals who have highly
contributed to the development of string pedagogy in the second half of the 20th
century. Perkins investigated two approaches to violin technique through private
tutoring and interviews with Suzuki and Havas, gathered information from colleagues
who worked directly with Rolland, Suzuki and Havas and examined writings and
teaching films of all three teachers.
Perkins comprehensively described the background, philosophy/principles and
technique of each method, and then addressed the teacher, pedagogues, and author
influences on Havas, Suzuki and Rolland. Perkins’s comparative analysis of violin
technique included the following categories: stance, violin hold, left arm and hand,
right arm and hand, tone quality and production, and non-technical features. Perkins
includes program structure, group teaching, master classes, private lessons, sequential
learning and introduction of techniques, remedial teaching, and player injuries and
conditions in the non-technical feature category. The results of the comparative
analysis show that the Rolland and Suzuki pedagogical approach to violin technique
share similar playing positions and movements, while the Havas (New Approach),
differs in terms of playing motion. Perkins acknowledged that teaching often has an
eclectic approach and suggested taking credible teacher training courses in line with
your professional goals.
7
Several studies have been conducted on aspects of intonation on a string
instrument (Bergonzi 1991; Hamann, Frost, & Wieters, 2002; Mishra, 2000). Many
teachers use finger tape to guide beginning students to the correct place on the
fingerboard in developing accurate intonation, and teachers also use finger tape to
promote correct left-hand position (Mishra, 2000). In a study on the effects of finger
placement markers (FPM) and harmonic context on string performance, Bergonzi
(1991) randomly assigned FPM’s that sounded a major second and perfect fourth
above the open string to instruments of half of the 68 sixth grade beginning students.
Bergonzi also randomly assigned one class from each of three elementary schools to
the harmonic context condition; and the other class had no harmonic context support.
For 33 weeks the students received 90 minutes of weekly heterogeneous group
instruction. Students were tested on intonation performance skills, sight-reading
intonation skills, the ability to perform melodic patterns, left-hand technical skills,
and musical criteria, which included consistency of tempo, rhythmic accuracy, tone
quality and musical expression. Students with FPM performed songs and melodic
patterns considerably more in tune when compared with students without the markers.
The students with the harmonic context treatment scored higher on the overall
musical criteria when performing songs, but did not play significantly more in tune.
Bergonzi also concluded that FPM and harmonic context, alone or in combination,
did not have a significant effect on left-hand position (Bergonzi, 1991).
While Bergonzi focused on the development of intonation in beginning string
students, Hamann, Frost, and Wieters (2002) explored string students’ perception of
8
tuning. Many teachers encourage students to independently tune their instrument, but
contemplate the pedagogical approach and when to introduce this skill. The
researchers developed and administered a 14-question survey to 826 sixth through
twelfth grade string students, asking questions on their experiences with tuning
procedures in the classroom, individual, and private teacher settings; and their
perceived tuning ability. The analysis of the data included the t-test, chi-square and
frequency distribution. Results from the survey indicated that grade level, years of
experience, intonation confidence, regular class tuning routines, reference pitch
choice (string instrument), and private instruction increased the students’ perceived
ability to tune their instrument. The researchers indicated that there was a significant
difference (p < .0001) with grade level and the perceived ability to tune without
assistance. Many sixth and seventh grade students required teacher assistance in
tuning, 50 % of eighth grade students tuned independently and by the twelfth grade,
96 % of the students reported they tuned without the teacher’s assistance. Factors
that did not have a significant impact on perceived tuning independence included the
type of tuning procedure and singing or humming during the process of tuning. The
researchers also found that students who had a high confidence level in their tuning
ability used harmonics instead of double stops or individual strings. The researchers
suggest that teachers provide constructive feedback during tuning and pitch matching
exercises, develop and implement effective tuning procedures for the individual and
class settings, and persuade students to study privately. Hamann, Frost, and Wieters
9
recommend a subsequent study that would compare students’ perceived tuning ability
with their actual tuning accuracy.
In addition to intonation, the sound produced by string students is the one of
the main foci for many teachers. String pedagogues emphasize the importance of
tone production from the beginning of a string player’s development, for example
Suzuki encouraged a beautiful, resonant tone from first years of playing (Yang, 2000).
The three factors that impact tone quality include the contact point (defined as the
placement of the bow on the string), bow weight, and bow speed. In 2006, Taylor
conducted a pilot study with middle and high school violin students to examine the
students’ control of bow speed and weight. Twenty-one violin students in grades 6-
10 performed two down bows on the open violin A string. Each student used the
same instrument and bow to eliminate the wide range of instrument quality that might
affect the outcome of the results. Taylor used spectrum analysis software to produce
visual spectrographs that are “discussed in terms of amplitude across time in relation
to management of bow weight and speed” (Taylor, 2006, pp. 59-60). In addition to
the visual representations, three string faculty judges listened to each sound file and
described the progression of the bow stroke in terms of bright tone, thin tone, rich
tone, or fragmented tone. Based on the findings in this study, the spectrographs
showed that students do not use consistent bow weight or speed during one bow
stroke, which creates an undesirable tone. Taylor hopes to extend this study with a
larger population and encourages teachers to investigate this topic further by
reviewing the instructional procedures and teaching guides to tone production.
10
In the sequence of the development of technical skills on an instrument, many
teachers introduce vibrato during the intermediate years. According to Geringer and
Allen (2004), “string pedagogy literature contains a number of articles devoted to all
aspects of vibrato teaching and performing” (p. 167). Geringer and Allen’s 2004
study examined the rate, width, and pitch level of vibrated and non-vibrated notes of
an eight-measure phrase consisting of notes with vibrato and without vibrato.
Subjects in this study were 10 high school violin students, 10 high school cello
students, 10 university music-major violin students, and 10 university music-major
cello students (N=40). The high school students were in grades 9-11 and had studied
for a minimum of 3 years with a private teacher. The university students were both
undergraduate and graduate students in music education and performance degrees
who attended the same school and studied the instrument privately on average for
10.2 years. Researchers asked participants to play an eight-measure phrase consisting
of four different notes, one measure a half note with vibrato with a half rest
alternating with the same note and rest without vibrato in the next measure. Each
phrase used all four fingers for the violinists and cellists and allowed the comparison
between vibrated and non-vibrated notes. The researchers audiotaped each
participant and analyzed the sound files with the software program called Praat in
terms of four dependent variables: vibrato rate, vibrato width, pitch levels, and pitch
stability.
The results of the analysis found that string players’ vibrato rate averaged 5.5
Hz with no significant difference between high school and university students and
11
violin versus cello students. Differences in the width of vibrato did occur between
age groups and instruments. University students used a wider vibrato (31.25 cents) in
comparison with the high school students (28.64 cents). The average of 34 cents
represented the vibrato width of the violinists while the cellists average a width of 26
cents. In the analysis of pitch levels university students played sharper than high
school student and violinists’ non-vibrated notes were sharper than the cellists’ non-
vibrated notes. Pitch stability differed between vibrated notes and non-vibrated notes.
Performers were more stable in pitch during vibrated notes (109 of 160), while there
was no significant difference between sharp, flat and stable notes during the non-
vibrated notes. The scope of this study was specific to a narrow register and a
controlled environment of notes vibrated then non-vibrated. The researchers suggest
other factors may affect vibrato including tempo, dynamics, phrase direction, and
register.
In the same year (2004), Shepherd focused on the pedagogy of introducing
vibrato instead of analyzing characteristics of existing vibrato of experienced players.
The subjects included 39 middle school violinists in a mid-size northwestern city,
who participated in a 6-week study. In this experimental study, Shepherd randomly
assigned the sample of students to an experimental or control group. The students in
the experimental group were provided with an instructional video on vibrato for their
home practice, and students in the control group took home an audiotape for drilling
finger patterns. At the end of the 6 weeks, all students individually played a string
exercise and a song passage, which was rated by four judges on five vibrato criteria:
12
width, speed, regularity, pitch stability and overall vibrato sound (Shepherd, 2004).
The results of the playing test found that the experimental group scored significantly
higher than the control group. The student who practiced with the instructional video
performed with a better vibrato than those students who practiced the finger patterns.
Researchers also found that students who performed at a higher level than others used
a superior vibrato on the string exercise only. Further research to explore and
examine how other string players respond to instructional videos on several
pedagogical topics such as posture, position, tone production, and intonation would
offer additional insight into how students learn.
Research on the pedagogical approach to intonation, tone production and
vibrato have focused primarily on the beginner and advanced player. Bergonzi’s
(1991) study focused on beginner players while the study conducted by Geringer and
Allen (2004) focused on the vibrato of high school and university students. The
studies on tone production and the video instruction of vibrato used beginner players,
but who solely played violin (Shepherd, 2004; Taylor, 2006). The next section will
review research that has been focused on the approach to teaching the cello.
Cello Pedagogy
Many researchers have investigated the Suzuki cello method by collecting the
practices of expert teachers (Carey, 1979; Lee, 2007; Yang, 2000). Others studies
have compare the Suzuki method to other major pedagogues that include Irene Sharp
(Lee, 2007), Rudolf Matz (Lee, 2001), Maurice Eisenberg (Lee, 2001), and Paul
Tortelier (Lee, 2001).
13
Carey (1979) invited 16 American cello teachers to participate in her study, 11
of whom served on the Suzuki Association of Americas Cello Committee. Four
teachers had studied in Japan and all of the teachers had been involved with summer
Suzuki teacher institutes. This study explored why teachers decided to use the Suzuki
approach to teach cello and describes the participants’ collective teaching practices.
The subjects taught students from diverse environments including large cities, small
towns, private, college, conservatory, community music school, and public school.
The tool for this study was a 34-page questionnaire. Fourteen out of the 16
questionnaires were returned and represented their teaching practices from the year of
1977-1998. The teachers reported that it took 2 to 15 hours to complete. The survey
was divided into four main areas:
(a) background of the respondents and their attitudes concerning Suzuki’s
educational philosophies; (b) how cello teachers approach the ‘uniqueness’
of the cello; (c) opinions on the success of the cello repertoire (Suzuki
Method Sato Cello School); and (d) when to introduce note reading.
(Carey, 1979, p. 3)
The results were divided into the four major areas according to the questionnaire, but
also arranged results in five categories concerning the teaching approach to starting
beginners that include: preliminaries (pre-twinkle phase), position, holding the bow
and bowing, left-hand techniques, and goals. Carey reported that the participants
were drawn to the Suzuki approach to obtain better teaching results.
14
Findings collected by Carey provide a comprehensive report on procedures
used by the teachers with specific quotes that describe the sequence of specific
activities. Most respondents prefer to start students between the ages of 3 and 5,
believe that the traditional half hour lesson is not appropriate for young beginners and
believe that attitude development is an essential component of the lesson. The issue
of supplemental repertoire emerges in Carey’s study during the discussion of the
success of the repertoire of the Suzuki Method Sato Cello School. Teachers were
asked to agree (n=9) or disagree (n=2) with the following statement, “the basic
repertoire should be supplemented by special studies or exercises in given techniques”
(Carey, 1979, p. 90). Nine teachers agreed that more pieces in the contemporary style
should be supplemented. One teacher commented, “I think the next thing we need to
consider with the repertoire is that the pieces must be given step by step so that there
are no large gaps in technique” (Carey, 1979, p. 96). In the three concluding points of
this study, Carey called for a revised edition of the repertoire, good teacher training
programs, and better communication within the Suzuki cello teachers’ community.
The Suzuki method for cello has been compared to other pedagogical
approaches in several research studies, including Lee (2001) who compared the
Suzuki approach to left-hand technique with three contemporary pedagogues named:
Rudolf Matz (The Complete Cellist, 1974), Paul Tortelier (How I Play How I Teach,
1971), and Maurice Eisenberg (Cello Playing of Today, 1954). Lee provides an
overview and analysis of the left-hand techniques used in each volume in the Suzuki
Cello School method; an example included “Perpetual Motion” in volume 1. The
15
original source, key, tempo, style marking, and meter are listed and followed by an
explanation of the purpose of the piece, which is to develop left fingers facility (Lee,
2001, p. 26). Lee then offers a critical comparative analysis of the contemporary
pedagogues with the Suzuki method, which are divided into seven categories:
position of left hand, finger action, finger retention, positions, shifting/sliding, thumb
position, and vibrato. Through the analysis of these categories on how the methods
approach left-hand technique, Lee found no one method is sufficient to develop left-
hand technique. Further recommendations from the study encourages the Suzuki
teacher to supplement the repertoire with etudes, all 24 major and minor scales that
develop specific left-hand technique and facility. Lee also mentioned the limited
scope of the style of repertoire in the Suzuki method and encouraged teachers to
introduce contemporary music to the beginner cellist.
In a more recent study, Lee (2007) compared the Suzuki approach with the
Irene Sharp method for teaching beginning cellists. The methodology of the study
differed in comparison with the previous study on left-hand technique. Lee applied a
mixed methods research design to describe the similarities and differences between
the Suzuki method and the Sharp method, the participants’ perspectives on their own
approach, the use of movement in lessons, and the parent involvement in lessons.
The researcher observed lessons by two master teachers, Irene Sharp and Nancy
Yamagata, and interviewed the teachers and parents. The study focused on young
beginning cello students between the ages of 4 and 8. Six students were observed
from Sharp’s studio and four students from Yamagata’s studio. Lee videotaped 19
16
lessons, which were viewed 12 times to rate 12 components: “posture, tone quality,
injury prevention, movement, rote teaching and learning, scales, note reading,
repetition of literature, homogenous playing, and parental involvement, student
listening, and teacher analytical listening” with a four-point rating scale (Lee, 2007, p.
76). Each teacher was interviewed with open-ended questions under five areas:
background, musical education, influences, teaching experiences and teaching
techniques for beginning students. The parents of each student were also interviewed
on their level of involvement in lessons and home practice using open-ended
questions, Likert-type and dichotomous questions. Based on the results of the
interviews, Lee found that parental involvement was highly regarded and expected
and that videotaped lessons facilitated home practice.
Results from this mixed-method study found the two approaches in teaching to
be different in many aspects. Lee noted that by taking notes during lessons,
Yamagata emphasized the repetition of learned pieces, rote teaching, delayed note
reading, homogenous group playing, and parental involvement. In contrast, by
videotaping lessons for home practice, Sharp highlighted movement, body mechanics,
injury prevention, analytical listening by the teacher, early note reading, solo playing
by students during group lessons, and parental involvement. Each master teacher
modeled during the lesson, but Sharp used the student’s instrument while Yamagata
used a full-size cello (Lee, 2007).
After the revision of the Suzuki cello materials in 1991-1992 (Books 1-3) and
1998 (Book 4-8), the question remained for current Suzuki teachers: Do you use
17
supplemental repertoire and what materials do you add to your curriculum? Yang’s
(2000) research continues Carey’s study, but uses recent American Suzuki teachers
and focuses specifically on the additional repertoire and materials for Volumes 1-10.
Similar to Tarr’s (1997) explanation for supplementing repertoire, Yang’s reasons
include: (a) “to teach note-reading; (b) to ‘move forward sideways,’ that is, to
reinforce skills that have already been introduced; (c) to fill in technical and stylistics
gaps in the core; and (d) to break out of routine” (Yang, 2000, p. viii). In 1987, Carey
Cheney, American Suzuki teacher trainer, called for supplemental repertoire in a
session called “What do we need to supplement and When?” (Yang, 2000, p. 177).
Cheney suggested that pieces in compound time, different tonalities and from the
20th century should be studied. Yang collected information over 5 years from 17 of
the current American Suzuki teacher trainers through teacher training courses, hours
of observation, personal conversation and correspondence, and an informal survey.
The description of the findings includes a detailed explanation of what technical and
musical concepts each book introduces and provides exercises that expert teachers
use for pieces in the books. In each chapter, an annotated list of repertoire used by
the participants was listed under the possible categories of reading, rhythm, cello
theory workbooks, accompaniments, “moving forward sideway,” scales, exercises,
and supplements used less frequently. Yang’s study is a comprehensive resource for
new teachers who are interested in the Suzuki curriculum, which has been successful
for many years.
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One study focused specifically on the intermediate cellist (Azari, 1997), which
provides an extensive annotated repertoire list. Azari compiled a list from four
sources, Royal Conservatory of Music Cello Syllabus (1995), American String
Teacher Association (ASTA) String Syllabus (1986), The Cello Syllabus (1970) by
Maria de Rungs, and Louis Potter’s graded list in The Art of Cello Playing (1980).
The intermediate cellist’s repertoire was defined by the guidelines provided in the
ASTA string syllabus, which reads:
1. all four positions as well as fifth sixth, seventh, and basic thumb positions 2. bow techniques that included spiccato, sautillé and longer sustained notes 3. tenor and treble clef, in addition to bass clef 4. all keys balanced against the overall difficulty of the work 5. multi-sectional works from all style periods, which demonstrate the other
criteria. (Azari, 1997, p. 21)
Pieces included in the annotated bibliography fulfill the guidelines stated in the
ASTA syllabus from 1986. Azari collected the works from two sources, reviewing
those that were available using a template that included categories regarding technical
challenges, general structure, tonal centers, rhythm and meter, range, length,
discussion of the accompaniment, editorial comments concerning pedagogical issues,
musical merit of the work, and publication information. The purpose of this study
was to provide a resource that will encourage teachers to explore the repertoire that
will be appropriate for their intermediate students. The two limitations of this study
reported by the researcher were some compositions were unavailable for review and
the final outcome includes materials from four lists and works recommended by area
19
cellists connected to the researcher. Azari hopes that this is first of many resources to
be developed for teacher.
These cello pedagogical studies focus primarily on the Suzuki method and its
implementation across all levels of playing. Carey (1979) and Yang (2000) document
specific teaching practices, while Lee (2001) and Lee (2007) compare traditional
approaches with the Suzuki method. The exception is the study by Azari (1997),
which focuses on the intermediate cellist.
Pedagogical Figures
The pedagogical approach to a string orchestra class was the focus of the
Garverick (1998) study on the life and works of the composer Carold Nunez. The
purpose of this study was to identify the most common pedagogical issues of a string
classroom in Texas public schools, to document the history of music education in the
Texas public schools, and analyze how the compositions of Nunez addressed the
pedagogical needs of the students in a string class. The researcher designed a survey
with open-ended questions and distributed the survey at the Texas Orchestra
Directors Association Convention in 1997 regarding a specific list of pieces by Nunez,
asking conductors to identify pieces they have used and “specific pedagogical
technique(s) that you valued in the respective composition(s)” (Garverick, 1998, p.
182). Out of 50 surveys, 40 were returned (80 %) and results indicated that teachers
identified 18 pedagogical categories that the researcher condensed into six: rhythm,
ensemble techniques, intonation, bowing, compositional techniques, and basic
reinforcement of pedagogy. The results from the survey revealed the most common
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Nunez compositions, which included Funny Fiddlin’ (67%), M to the Third Power
(49 %), String Swing (38%), and Uni-Tunes (36%). The researcher summarized that
Nunez’s compositions consistently address rhythm, bowing, and ensemble skills.
Teachers also reported that the compositions introduced jazz, syncopation, and blue
notes, and most of all, the students enjoyed the pieces. The contribution of Nunez to
the string classroom is significant and the narrative study of his life documents a
significant part of the history of string music education in Texas.
In 2001, Fanelli researched the life and contributions to string pedagogy
education of Paul Rolland, who wrote The Teaching of Action in String Playing. This
extensive biographical study provides documentation of Rolland’s professional career
from 1938-1978. Fanelli compiled a bibliography of all pertinent materials associated
with Rolland, conducted questionnaire survey and interviews (oral history) to collect
“documentation providing information, insights, views and evaluation of Rolland’s
pedagogy, work, life and legacy” (Fanelli, 2001, p. 40). The study also explored the
impact and legacy of Rolland’s pedagogy on contemporary teaching practices through
the survey administered to Rolland’s colleagues, family, students, administrators, and
string and music educators. Fanelli also viewed and analyzed Rolland’s teaching
films from the Illinois String Research Project, comparing Rolland’s pedagogical
treatises with the actual teaching practices in the video. The organization of the
findings is chronological in nature, providing a narrative description of Roland’s
professional and teaching activities and then the assessment of his pedagogy.
21
The teaching style and methodologies of the pedagogue Janos Starker was the
focus of a study by Cloer (2009), who investigated the one-on-one relationship
between student and teacher during music studies at the collegiate level. Data was
collected through interviews with Starker, observations of studio (n=42) and master
class (n=49) lessons taught by Starker, and observation of master classes (n=28)
taught by other well-known teachers. The organization of the results include the
format of studio lessons, master class lessons with Starker, master classes with other
teachers, categories of assessment/diagnosis and instruction in applied lessons, and
description of Starker’s “Principles of Cello Playing and Music Making.”
In 2010, Kovacs studied the life of pedagogue Phyllis Young by examining
her ancestry, childhood, education, personal life, and career. The biographical study
reveals her contribution to string education through her career as a cellist, teacher,
author and service to organizations that include the American String Teachers
Association. One of Young’s most significant contributions was her affiliation with
the University of Texas String Project. This is a teacher-training program that she
directed from 1965-93, and that has influenced other string programs around the
country. Kovacs also emphasized the impact of Young on her students, who hold
positions in universities and orchestras.
A Case Study: Grace Vamos
Few studies have investigated the repertoire for the intermediate cellist,
however, the authors of these studies have not addressed specific pedagogical and
musical issues. My continuing search for studies related to intermediate cellists led to
22
the discovery of the work of one cello pedagogue, Grace Vamos, who chose to
address the issue of repertoire by composing for young cellists. The purpose of my
study is to examine her varied contributions to string teaching.
The case study of Grace Vamos documents the contribution of a woman
music educator and aims to fill the gap in the current research on the influences of
women in the field of music education. The research questions explored include:
What is the musical background of Vamos? Why did she compose music for young
cellists? How did her cello teaching inform her cello compositions? What do the
pieces of Vamos add to the existing cello core repertoire? How do the pieces address
the pedagogical needs of the intermediate cellist?
Methodology
A qualitative approach was applied to explore research questions through (a)
description of Grace Vamos’s life, (b) analysis of her compositions in comparison
with traditional intermediate core repertoire, and (c) analysis of selected solo
compositions. The methodology of the first section of the dissertation included
collection, coding, and analysis of three types of documents: the content of personal
letters written by Vamos, interviews with her former students, and email
correspondence with other contacts of Vamos.
Vamos letters. Kathy Scott, former student of Vamos, provided me with
hand-written letters from Vamos from the years 1974-1986. The letters were coded,
and analysis revealed Vamos’s multiple roles as teacher, composer-collaborator, and
mentor.
23
Interviews. I corresponded with Kathy Scott through email and iChat in the
beginning of our contact, and interviewed Kathy Scott on two occasions. Both Kathy
and I were on speakerphone during the interviews, which were recorded on
GarageBand on December 18, 2011 and December 19, 2011. Kathy Scott was 87
years old at the time of the interview, and in order to facilitate understanding the
questions over the phone, her daughter, Kase Wierenga, asked the questions I had
provided. She also clarified answers given by Scott. Due to both parties being on
speakerphone, I was concerned with the quality of the recording, so I also recorded
field notes while listening to the recording, and subsequently coded all of this
material.
I interviewed Vamos’s former student and grandnephew Cory Soltau, to
whom a Vamos composition is dedicated. My interview of Soltau on January 18,
2012, was recorded on GarageBand; I also recorded field notes and then coded both
the interview transcript and my field notes.
Finally, I interviewed former student and daughter of Kathy Scott, Res Peters,
known as Betty Rae through her childhood years, to whom a Vamos composition is
dedicated. My interview of Peters on February 18, 2012 was recorded on
GarageBand. I also recorded field notes and then coded both the interview transcript
and my field notes.
Originally I wrote specific interview questions (Appendix A) according to the
relationship of each person to Vamos. However, I found that the interviewees (Scott,
24
Soltau, and Peters) talked continuously about their memories of Vamos and
experiences with Vamos instead of following the proposed line of questioning.
Through email correspondence I also contacted the current owner of Vamos
Publications and founder of the Contra Costa String Association, Ariel Whitbeck.
Whitbeck provided information on the history of the Vamos Cello Competition,
which is now one division in the Contra Costa String Association competition.
Repertoire Analysis. In the second part of the dissertation, I analyzed
selected intermediate compositions by Vamos through a theoretical and pedagogical
lens. The Vamos compositions analyzed for this study are Cello Concerto in D minor
and Cello Concerto in E minor. I based the analysis on selected categories identified
in Azari’s previous research (1997) which include: title, composer, publisher, number
of pages (cello), tonal centers, grading, number of movements, meter, tempo, clefs,
range, positions, thumb position, and bowing/articulation. The categories in Azari’s
research provide an broad overview of the intermediate compositions, but to
investigate further into the theoretical and pedagogical components I added the
following categories: key signatures, form, dynamic range, left-hand and right-hand
technique, musicality, and extended techniques. I compared and contrasted the
Vamos cello concertos with the standard cello concerto, Concerto No. 4 in G major
by Georg Goltermann, according to the issues facing the intermediate cellist as
suggested by Yang (2000). These include tone production, vibrato, expanding the
positions and shifting on the instrument, variety of bowing techniques, finger
facility/velocity, rhythmic complexities, and developing musicianship.
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Through this dissertation I respond to the need to contribute to the history of
American music education, provide historical research on a woman music educator,
and offer additional repertoire for the intermediate cellists that address specific
pedagogical and musical issues. The study concludes with recommendations for
expanding the visibility of Vamos’s compositions, to encourage other composers to
create pedagogical appropriate material, and to persuade teachers to explore the
possibilities of other intermediate repertoire by other lesser-known composers.
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Chapter 2 Biography of Grace Becker Vamos
(April 17, 1898–March 25, 1992)
A native of California, Grace Vamos was born in San Francisco and raised in
Berkeley, where her family hosted occasions when friends would come to their home
to play music socially. Vamos’s mother played piano and her father the violin. The
Vamos parents owned a cello for guests to use during these “chamber music”
gatherings, and according to Kathy Scott, former student and teaching colleague,
Vamos tried the family cello and it became her instrument (personal communication,
December 18, 2011). Throughout her long life Grace was devoted to music, whether
through study, composing, arranging, or teaching. She studied pedagogy at the Paris
Conservatory with Hekking and at the Fontainebleau School of Music on a Damrosch
scholarship. After her time studying abroad in Paris, Vamos returned to Berkeley,
where she taught cello and composition at her home and Mills College. Between
1937-1939, Vamos traveled abroad again, this time to Budapest, Hungary, to study
composition with Hungarian composer Zoltan Kodaly. She was forced to leave
Hungary due to the outbreak of World War II.
Vamos spent time in New York and California and then moved to Mexico
City where she joined a string quartet. While in Mexico City, she composed music
for the dance “Dying Eagle” performed in the Opera House and a large choral number
“Praise Ye the Lord” which was performed by the Bach Choral Society of Mexico
City. Vamos returned to San Francisco and had the honor of having her piano
concerto performed by Florence Stage and the Oakland Symphony, which was the
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first time a piano concerto by a woman composer was performed in California
(Bicentennial committee Berkeley retired teachers, November 5, 1976).
Vamos later met and married her husband Ernest on January 26, 1948 in San
Francisco. Ernest was born in Hungary, where he served his country in World War I
and then was captured by the Soviets and sent to a prison camp in Siberia: he escaped
from the camp and made his way from Siberia to Vladivostok. Ernest worked and hid
out on a reindeer farm on a nearby island and then boarded a Japanese steamer and
shoveled coal to earn his transportation to San Francisco (R. Peters, personal
communication, February 18, 2012). According to Peters, Ernest’s journey “is a
stunning display of determination, survival, and intelligence” (R. Peters, personal
communication, February 20, 2012). Ernest then worked at the Dollar Ranch until he
saved enough money to attend dental school and then became a dentist in San
Francisco. Ernest was described as an elegant, quiet man, an example of “Old world
elegance” (K. Wierenga, personal communication December 18, 2011). Dr. Vamos
was also an amateur cellist. Soltau mentioned that his Uncle loved the cello: “He was
one of these guys that loved the cello, but probably shouldn’t have been allowed to
play. But what he lacked in ability he made up with enthusiasm” (personal
communication, January 18, 2012). Ernest took lessons from Grace, and “it was
cheaper for Ernest to marry her than pay for lessons” (K. Scott, personal
communication, December 18, 2011).
Music was life for Grace Vamos. She continued to engage in her musical
story, taking lessons at Mills College with Bresica, and showing interest in
28
international travel throughout her entire lifespan. Soltau described her motto while
travelling as “when in Rome do as the Romans” (personal communication, January
18, 2012). Vamos immersed herself in the culture through learning the language,
dancing, and singing; she spoke fluent French, Spanish and Hungarian. According to
Soltau, Vamos and her husband would go to the airport with practically no luggage
and then buy what they needed at their destination. Vamos bought clothes to look
like a native, outfits in Japan, saris in India, but her complexion was white as
snow. Even after her husband died, Vamos continued travelling abroad, accompanied
by her grandnephew, an honored guest, to attend a wedding in Katmandu, Nepal, with
stops in Japan and Thailand (C. Soltau, personal communication, January 18, 2012).
Vamos concertized with the group Trio Moderne, a chamber ensemble
comprising flutist Christine Howells Pfund, harpist Marie Hughes Marguarrie, and
cello; and she arranged a majority of the music they played (R. Peters, February 18,
2012). Vamos composed for piano, violin, cello, flute, voice, and chorus, receiving
several awards, including the Harp Association Award for harp solo Legend of the
Redwoods and the Sigma Alpha Iota Award for Suite for Cello and Piano. Vamos
attended a master class by Pablo Casals April 30, 1960 at the University of California
at Berkeley and brought a copy of her composition the Suite for Casals to examine.
In response Casals sent a letter of praise to Vamos (Figure 1), “I have had much
pleasure in reading your composition which shows real talent” (C. Soltau, personal
communication, January 18, 2012; Unpublished brochure, 1983).
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Figure 1. Promotional Brochure: Grace Vamos and quote by Pablo Casals.
A devoted teacher, Vamos established the Grace Becker Vamos Scholarship
Fund in 1975 to encourage music students of the younger generations. The
Scholarship provided students with the resources for lessons, supplies, and
instruments. Vamos shared the secret of the fund with a student of Scott’s who was
the first recipient of an award:
I have a secret which I was not supposed to tell you until graduation time. But
I’m so thrilled over your winning this opportunity to perform with the
orchestra that I decided to share my secret with you now. We are establishing
a Grace Vamos Scholarship Fund from which an award is to be made to a
30
worthy gifted young cellist each year. (personal communication, April 30,
1975)
Vamos writes about an adult student named Dr. Curtis, and the money earned from
his cello lessons went directly to Scott, who was the trustee of the fund. In 1981
Vamos endowed the Grace Vamos Scholarship Trust and the Ernest Vamos Memorial
Scholarship at Holy Names College, where much of her cello music is stored today.
In addition she established the Grace Vamos Cello Competition in 1990 and then
endowed the annual string competition of the Contra Costa String Association, under
the condition that at least one of her works be performed each year. The string
association furthered their commitment to her music by instituting a Grace Vamos
division in the competition (A. Whitbeck, personal communication, January 4, 2012).
Students as Family
Based on the letters and interviews, Vamos’s commitment her students is
evident in the way she treated her students and what she called her “grand pupils.” In
a letter to one of Scott’s students, Vamos writes, “Since you are my “grand pupil” (a
pupil of my pupil) I am extra thrilled over your achievement” (personal
communication, April 30, 1975). Scott remarked repeatedly that Vamos loved
children and “she was never demeaning” during lessons and interactions with
children (personal communication, December 18, 2011). Even though Vamos never
had any children, each student became a part of her family. Actual family member
Soltau, grandnephew of Vamos, mentioned how “everyone was like family” and
Scott described her relationship to Vamos and her husband as personal, “I was their
31
child” (personal communication, December 18, 2011). Scott remembered an
experience when she was taking a lesson with Vamos, and there was a little knock on
the door. Vamos put down her cello, lowered to her knees in front of the door, and
knocked back where a child would be on the other side of the door. Vamos became a
model for Scott: “I treated others the way she was treating me” (K. Scott, personal
communication, December 19, 2011).
Vamos as Teacher
Kathy Scott studied with Vamos starting in junior high school, and later
Scott’s daughter Betty Rae also took lessons from Vamos. Betty Rae and another
young student Cory Soltau both began cello at the age of 8, and took lessons together
and separately from both Scott and Vamos. Scott lived in Walnut Creek, CA, while
Vamos lived in San Francisco, a distance of only 25 miles. In terms of her teaching
style, Soltau described her as a “dissector” (personal communication, January 18,
2012). She broke down the pieces, dissected them, found the most difficult passages,
and taught the pieces in “chunks” rather than starting at the beginning. Soltau does
not remember using standard etude books, but recalled that Vamos would write up
her own exercises based on the repertoire the students were working on in their
lessons. Vamos seemed to always keep her students in mind while teaching and came
up with finger patterns and reconstructed fingerings according to the needs of her
students. Scott described a typical lesson, which included scales, arpeggios,
technique, and solos; and Peters, former student of Vamos, remembers this advice:
“think tone color in whatever you do” (R. Peters, personal communication, February
32
18, 2012). Memorization and playing the same piece for multiple recitals and
competitions was another important component of the learning process of the Vamos
student. Soltau recalled studying the Concerto in D Minor by Vamos: “I had that
thing memorized and to this day I have it memorized, she instilled it into the bone
marrow” (personal communication, January 18, 2012).
Vamos’s approach to teaching involved the understanding that this was going
to be a life experience for the student, and since she treated her students with respect
and made them comfortable, Scott mentioned not being afraid to make mistakes
(personal communication, December 18, 2011). Throughout the letters, Vamos
writes about preparing the musical score with fingerings and bowings for Scott:
I haven’t had time to work on the Schumann yet. I’d rather assign the other
D major Haydn for you next month. I know it so well & can really teach it.
Bring along your copy of the Schumann so that I can study the different
editions in preparing it for you. (personal communication, September 27,
1977)
Vamos devoted a significant amount of time to her students by preparing the
cello score, and often extending the length of lessons, “I had planned to work with
you again in the afternoon, but I got wrapped up in Betty Rae’s lesson,--on & on,--&
of course, she needed help more than you do” (personal communication, March 3,
1976). During her teaching career, Vamos also adapted her teaching material based
on the progress of a student. She wrote to Scott,
33
Following our phone conversation I was thinking about the d’Albert & your
reaction to my suggestions & suddenly I remembered what a struggle you had
with the big stretches in the opening arpeggio passages. So let’s abandon the
idea & instead work on (don’t faint) the Vamos Suite. I’d like to have you
give me a truly artistic performance of it next lesson. (personal
communication, March 9, 1977)
Vamos’s teaching was a student-centered approach and continued until the end of her
life. Vamos moved to an assisted-living facility near Danville, CA, and Soltau
recollects that Vamos taught lessons in her room and organized recitals for her
students at the facility (personal communication, January 18, 2012). The dedication
of Vamos to young cello students is evident through her treatment of others, her
financial contribution to their education, and her original and arranged musical
compositions.
Vamos as Composer and Collaborator
Vamos composed throughout her adult life. She composed original music for
the cello with piano and cello ensemble (Appendix B) and arranged music for the
same instrumentation (Appendix C). Other Vamos compositions include
instrumentation for piano, violin, cello, flute, voice and chorus (Appendix D). The
letters revealed her compositional process, her collaborative approach to composing,
and how she and Scott showcased her pieces through recitals. According to Scott,
Vamos would describe herself as a genius: “I am a genius you know, but it is just a
gift. I can’t take any credit for it” (K. Scott, personal communication, December 18,
34
2011). Vamos frequently referred to her pieces in relation to her compositional
process, hearing a piece or several pieces at a recital, or sending copies of the scores
to Scott (Table 1).
Table 1 Vamos Pieces Referenced in Cited Letters
Vamos Piece Date # of times
Baritone Bumble Bee 04/09/76 1 Hebrew Melody 04/22/76
04/18/83 1 1
Elephant Dance 04/22/76 1 Duo Doloroso (mvt. from Duo)
05/23/76 05/31/76 11/10/77
1 1 1
Misty Night 07/12/76 2 Duo (Marsh Sisters) Lament (mvt. from Duo)
08/09/76 Between 08/09/76 and 09/01/76 11/10/77 04/18/83
2 1 1 2
Concertos 08/09/76 03/21/77
1 1
Suite 03/09/77 04/23/77
1 1
Five Pieces (collection of 1st position pieces) unknown 1 “Betty Rae” Concerto 09/13/77 1 Arrangements for 3 cellos 11/10/77 1 Psalm
05/31/82 05/17/83
1 1
Sometimes Vamos composed with certain students in mind and found it challenging
to create a work for the young cellist. She considered it miraculous that she wrote
compositions that were appropriate for the level of a student. Vamos found
35
inspiration from students. After a special recital where many of her compositions
where played by members of Scott’s cello studio, she remarked,
Their playing my music for me made me realize the great value of these
compositions for students,--& they have inspired me to try to do more of the
same type of writing, also a little more difficult. This resolution brought forth
some themes etc. at dawn Monday morn. (personal communication, April 22,
1976)
She seemed to be cognizant of the level of student in relation to the level of piece she
composed and wanted to challenge the students in future pieces. Throughout the
letters from April 22 to August 9, 1976, Vamos talked frequently about a cello duo
she was writing for the Marsh sisters. The beginning of the compositional process
started around April:
I had told the Marsh sisters that I would write a duet for them,—so that’s what
I started on. One of the hardest things for me is to keep things simple
enough,--the real me goes for such odd intervals & modulations. This duo
wants to go high & soar on the upper fingerboard. Also it wants to have a
piano part, whereas I had planned it unaccompanied. Well, we’ll see what
happens! (personal communication, April 22, 1976)
The culmination of the finishing project finally came in August of 1976, when Vamos
wrote about her struggles with composing this particular piece for the sisters.
I’ve been working & working on a duo for the Marsh sisters. But day after
day I would tear up any attempts. It is most difficult for me to compose
36
anything simple enough for the average student. Surely it was a miracle that I
did the little Concertos & pieces. Moreover, composing for 2 cellos is not
easy when you try to avoid the high registers.—But yesterday I tried again &
worked all day to capture the ideas which come to me. I have practically
completed a very charming number,--not too difficult yet quite a challenge.
I’ll let it set & percolate for a few days,--then will ink a copy and have Ernest
do it with me so I can hear how it sounds & make any necessary changes.
Then I’ll send a copy to you & to the girls. You know, I told them I would
write something for them & now I can keep my word. Also, it will be a good
teaching number for you. (personal communication, August 9, 1976)
The teacher Vamos informed the composer Vamos to influence the components of a
piece to be an appropriate technical level: “Also I’m sending 2 copies of Caprice (as
I have named the duo I wrote for the Marsh girls). It is really darling & not too hard”
(personal communication, November 10, 1977).
Vamos would revise and edit her compositions based on informal readings
with her husband or with Scott and on formal recitals played by her or Scott’s
students. In March of 1979, Vamos sent a letter with a handwritten revised four-
measure section of the Lament from the Duo for the Marsh sisters (personal
communication, March 27, 1979).
37
Figure 2. Handwritten excerpt by Vamos in letter to Kathy Scott on March 27, 1979.
An original work for four cellos (Psalm) was premiered on an awards recital
in 1983 where Vamos intended to listen carefully during performance in case she
might want to make revisions to the score:
The Psalm is very subtle with its many measures of silence for different
voices, and with flowing triplet movement in the center. I still feel it might be
better to not space the voices so far apart. I will be able to judge it better
when I hear it performed. (personal communication, May 17, 1983)
After the awards recital, Vamos mentioned meeting with Scott to experiment with the
register placement of the third cello part: “when we get together we’ll have to decide
on whether I should make parts of the third cello higher, -possibly dividing it an
octave apart” (personal communication, May 31, 1983).
In regards to another Duo for two cellos called Italian Suite, Vamos refers to a
revised section, “I have changed the first four measures of the piu mosso in Doloroso
& it is better. Also I worked out some better bowings in Mysterioso” (personal
communication, October 2, 1976). Pedagogically, Vamos concentrated on creating a
piece that develops the cellist’s technique in terms of harmonics, pizzicato, intonation,
38
high and low passages to explore fingerboard geography, and created sounds that
provoked interest:
The Lento is very slow & is a terrific study of intervals, starting off with a
series of descending sevenths & ascending sixths. The alternating halftones &
whole tones on Page 2 are extremely difficult to play in tune,--an excellent
study,--then the group of major thirds, descending chromatically are fine for
ear training. The harmonics should be played with beautiful tone. I love the
sound of harmonics,--similar to the tone of a boy soprano.—Of course, this
has failed to be a simple number, but it is a fine study & I think it quite
hauntingly beautiful.—We must decide on names for them. Think it over.—
(personal communication, May 31, 1976)
Vamos even thought of the students as performers in terms of the logistics of playing
a piece: “The 3 pages can be opened out on the music stand to avoid turn” (personal
communication, Between August 9, 1976 -September 1, 1976).
Revision of pieces also came from other moments in Vamos’s life. According
to a story recalled by Scott and Peters, Vamos send a manuscript copy of the second
movement of the Concerto in D minor and told them while she was scrubbing the
bathroom floor, the pattern of the tile became the inspiration for a new second
movement: "Kathy, throw away the second movement. I've just had an inspiring
melody for the second movement. While I've been scrubbing the floor!" (K. Scott,
personal communication, September 7, 2009; R. Peters, personal communication,
February 18, 2012).
39
Vamos continually wanted to compose for Scott’s students, but found the
process challenging, while at the same time she understood the importance of her
pieces to Scott’s students:
Thanks for the beautiful compliments on my little compositions. I really want
to do more of them for you & your flock. But, alas, it is next to impossible for
me to write simple enough music for that grade of work. It was a miracle that
I was able to keep the concertos within limits. I’m sorry the Duo went out of
bounds. But it’s not too hard & has good contrasts of style & mood.—
(personal communication, March 3, 1977)
The collaboration between Vamos and Scott in terms of her compositions is
evident throughout the letters with references to revising and editing the pieces,
naming the pieces together and through several performances. Vamos relied on
Scott’s opinions:
Here it is,--“Duo for two Cellos”—I’ve worked day & night to complete this 3
movements & make a legible copy. Go through it & get a little acquainted,
then we’ll play it at your next lesson & make the final decisions on it. We
must decide on names for them. (personal communication, May 31, 1976)
Vamos even wanted Scott’s students to give their input in terms of naming the
movements from the Duo for Two Cellos, “I have not written in the name yet.—
waiting until we all decide. I have two suggestions, but I thought it would be fun to
see if the girls might select the name for it” (personal communication, Between
August 9, 1976-September 1, 1976).
40
Scott used Vamos’s compositions throughout her teaching career and she
often celebrated the works of Vamos through recitals. Each year on Vamos’s
birthday, Scott would celebrate by organizing a recital and party (R. Peters, personal
communication, February 18, 2012). The first of many recitals happened in the year
1976. Vamos referred to the “Appreciation Recital” in terms of preparation,
thanksgiving, publicity or dissemination, and reminiscing. Vamos planted the seed of
the idea in 1975.
Now as to your plans for the gala celebration, April 17, 1976! I accept with
great pleasure on the conditions that there will be absolutely no presents,--&
that instead of dinner & an evening performance,--let’s have it an afternoon
performance with a party of ice-cream & cookies & punch & coffee. The
music will go much better if they start off with it right away, instead of after
eating & visiting first. We think it would be much more meaningful to have it
a real music party of my “grand-pupils” doing my compositions. Has there
ever been such an event in the history of the world? (personal communication,
Nov. 28, 1975)
Scott followed through with this idea of having her students play an entire recital of
Vamos’s music, some of which Vamos had never heard: “I am very interested in
hearing those compositions & hope that someone will do the “Baritone Bumble Bee”
which I have never heard” (personal communication, April 9, 1976). After the recital,
Vamos wrote a letter of thanks to Scott and her husband, where she describes the
impact of the recital and the remarkable performances.
41
Believe me, a couple of times when my eyes were cast downwards I saw that
my heart was making the orchids of the lei almost jump off their string. And
the Hebrew melody had me fighting to hold back the tears,-it represented so
great an achievement on your part, Kathy, to bring the three of you together in
a perfect rendition of this exquisite number. And all through the program,
Jan’s poetic accompaniments & ability to merge with the performer brought
out the best in the music & helped give confidence to the cellists. (personal
communication, April 22, 1976)
Vamos was overwhelmed with gratitude and felt limited by words to express her
thanks.
This is the most difficult letter to write because there are no words to express
my appreciation for all you did to make the “Appreciation Recital” the most
wonderful birthday party of my long life…How I wish the English language
had another word to express beautiful as beautifully as beautiful does.
(personal communication, April 22, 1976)
She believed in publicizing the event in the nearby newspaper to highlight such an
amazing unique occasion.
We sent copies of the beautiful program to the music critics of the S. F.
Chronicle, Berkeley Gazette & Oakland Tribune with a personal note calling
their attention to this unusual recital in case they would like to put an item
about it in the paper. You know, it is always good to have publicity about the
42
fine things that take place in a community rather than the emphasis that is
given to the bad. (personal communication, April 27, 1976)
Vamos also wrote a special letter to the performers of the recital, Scott’s students,
where she not only thanked the students, but also encouraged their continued
connection to music.
I believe you set a world’s record on my birthday this year! Never before has
a composer been honored by having eighteen cellists give an Appreciation
Recital, performing his or her compositions. I was thrilled to hear each &
every one of you do your best to play your number beautifully… May you
have joy in being a musician & in sharing your music with others. (personal
communication, May 10, 1976)
Vamos reminisced in the letters about this special “Appreciation Recital” until March
of 1977. Scott served a cake as refreshment after the recital and placed an edible first
page of the Concerto in D minor (“Cory Concerto”) and Vamos saved part of the
cake with the notation eleven months after the event, “Two weeks ago, when cleaning
the refrigerator, I enjoyed seeing the piece of cake with the Concerto Music which I
stored away in the freezer following the magnificent Appreciation Recital” (personal
communication, March 9, 1977). Vamos’s compositions came to life through her
association with Scott.
Vamos as Mentor
The connection between Vamos and Scott began as teacher:student, but then
moved to colleagues. Scott described this transition as gradual, as she got to know
43
Vamos more she became more interested in teaching (K. Scott, personal
communication, December 18, 2011). Vamos provided Scott with ideas in teaching,
copies of music of great teaching material, and philosophical thoughts on students.
Vamos referred to many pieces written for cello in terms of a “fine study” or “use for
teaching” to guide Scott in repertoire choices for her own students and described the
musical and technical components of some pieces (Table 2).
Vamos also contemplated the challenges of the beginner cellist and offered a
possible solution for Scott:
I had an inspiration that might be worth trying. It depends on whether you
have several elementary pupils who need help on the basics of music. How
about offering a six weeks course of group lessons free, to give them an hour a
week of rhythm, ear-training, reading, etc. This would come out of the
scholarship fund which would pay you $10—an hour. But I think it would put
them way ahead,--& ease the strain of teaching basics separately to each pupil.
(personal communication, March 3, 1976)
The student-centered approach Vamos modeled for Scott is evident in her
advice concerning recitals:
received your letter & loved your remarks about your beginners. How well I
know what an ordeal it is to face an audience for the first time. But if you
keep stressing the idea that this is a party not a recital, it may help ease the
tension. (personal communication, April 9, 1976)
44
Table 2 Standard Cello Repertoire Referenced by Grace Vamos in her Letters
Cello Repertoire Date Saint-Saens Sonata
• excellent study for a player of medium ability • has much beauty • both heavy dramatic style & lyric tone passages
04/03/76
Grieg (Sonata) • both heavy dramatic style & lyric tone passages • I’m sure you’d find it very useful in teaching
04/03/76
4th Beethoven Sonata 04/09/76 Popper Gavotte
• I find it is a wonderful study.—including bow work, harmonics, thumb passages, etc…
05/23/76
C major Haydn
• It is so charming & such a fine study 03/09/77 09/13/77
Brahms Double Concerto 04/23/77 Brahms E minor 11/09/83
12/14/83 Fifth Vivaldi Sonata
• two copies of the piano accompaniment of the fifth Vivaldi Sonata, Peters Edition.—It is much simpler than the International Edition & therefore more suitable for amateur accompanists
Vivaldi
09/13/77 05/31/82
Bach Sonatas • you will have a nice lot of teaching material
09/13/77
Haydn D major Concerto 09/13/77 09/27/77
Bach Cello Suites 09/27/77 Second Bach Sonata 09/27/77 Other composers mentions: Haydn, Dvorak, Goltermann, Romberg, Klengel d’Albert Schumann
05/21/76 05/21/76 03/09/77 09/27/77
The mentoring of Vamos also extended to Scott’s children and students: “I never
would have guessed how our relationship could have gotten so deep so quickly. She
was Auntie Grace to my girls and she not only mentored them, but also all of my
45
students” (K. Scott, personal communication, January 28, 2009). Vamos’s teaching
style, compositional process, treatment of Scott as a colleague in collaboration and
mentoring offers insight into her multiple roles.
The impact of a great teacher, composer, friend on her students and “grand-
pupils” is summarized poetically by a letter of Res Peters gave to Vamos on her 90th
birthday (personal communication, April 17, 1988):
Dear Grace,
What a blessing it is, on your 90th birthday, to reflect upon your
imprint on my life, with its unique genesis even before my birth.
Prominent among my earliest memories, are the glimpses of my
mother at her cello, later followed by my climbing the big stone steps to your
door, cello in arm, heart racing in anticipation.
With the unveiling of new compositions, ink barely dry…the breathing
and finger stretching, walking and dancing rhythms…the soup and crackers
around the kitchen table and stimulating exchange of ideas…the spontaneous
performances for our ever-appreciative Ernest…our lessons embraced so
much more than the rudiments of cello technique. They were family.
Enthusiastic, adventuresome, disciplined, you have always delighted in
our successes, empathized with our struggles, and set us free to find our own
path to excellence and joy in music. I now realize that you were not just
imparting a love for music, but grooming in us character qualities that would
extend far beyond the cello.
46
Self-discipline and diligence through the difficult passages have
become commitment to family and friends, come what may. Your tolerance
for imperfection, appreciation for honest effort, and encouragement to
overcome limitations have made me more patient and flexible with my own
children. Your genius clothed in an understated lifestyle has taught me a
humility that seeks value apart from materialism.
Because you have imparted so much of yourself to me, your old world
values, your love, and your untold generosity will continue to shape my life
and that of my family.
You once remarked that I was born with a silver spoon in my mouth,
and as I recount the years rich in heritage and opportunity, I have indeed been
blessed. But how thankful I am for your faithfulness in filling that spoon with
your love of music, discipline tempered with encouragement, and a resilient
enthusiasm for life, all borne of a most generous heart. I pray that these
qualities will tenderly nurture those whom I am privileged to feed, as well.
How very much I love you,
Betty Rae (Res Peters)
The dedication and caring nature of Vamos is evident throughout her
professional career as performer, teacher, composer-collaborator and mentor. Vamos
treated her students and “grand pupils” with the utmost respect and devoted her life to
teaching and composing pieces for young cellists. The relationship between teacher
and student with Kathy Scott became colleagues and Vamos began to mentor Scott,
47
by providing suggestions on how to work on specific pieces in the cello repertoire and
by sharing her teaching philosophies. In the next two chapters I analyze selected
compositions by Vamos and compare them with a piece from the standard cello core
repertoire to further examine her compositional techniques in both musical and
pedagogical contexts.
48
Chapter 3
A Theoretical Analysis of Selected Intermediate Cello Concertos Introduction to Analysis
Cello instructors choose repertoire that sequentially develop technical and
musical demands for each student. These teachers often follow the curriculum and
repertoire suggestions in the Suzuki Cello Method, Royal Conservatory of Music
Cello Syllabus (1995), the American String Teacher Association String Syllabus
(1997), and in The Art of Cello Playing (1980) by Louis Potter (Azair, 1997; Lee
2001). Although an important genre for each student to experience and learn is the
concerto, after examining these sources for cello teachers, few concertos for the
intermediate cellist emerge from the list.
In The Art of Cello Playing by Potter (1980), a repertoire list is provided with
three broad-level categories: “elementary to medium advanced, medium advanced
through advanced, and advanced through highly advanced” (pp. 219-223). Potter
fails to define what each category means in terms of technique, but specifies when
pieces do not have thumb position or when pieces are all playable in first position. In
the medium advanced through advanced level, pieces may have thumb position. The
concertos listed in the medium advanced through advanced category, which could be
considered the “intermediate” to “advanced” level include: Concerto No. 4 in G
major and Concerto No. 5 in D minor by Georg Goltermann (1824-1898), Concertino
No. 1 in C major, op. 7 by Julius Klengel (1859-1933), and Concerto No. 1 in G
major and Concerto No. 2 in D major by Jean Baptiste Sébastien Bréval (1753-1823).
49
One concerto out of the five mentioned in the Potter repertoire list is also
listed mentioned in the Royal Conservatory of Music Cello Syllabus (1995). Ten
categories according to level are listed in the syllabus and in grade seven, the
concertos referenced are: Concertino no. 1 in F major by Bréval, Concerto no. 4 in G
major (3rd movement) by Goltermann, Concertino no. 2 in G major by Klengel and
Student Concerto in D major by Ludwig Mendelssohn. Two of the same composers
and concertos are cited in the American String Teacher Association (ASTA) String
Syllabus (1997).
ASTA differentiates the level of playing in six graded categories. Grade 3
would be considered the intermediate level and is defined as:
equivalent to the technical requirements found in Book Three string methods,
are for most third and fourth year cellists. The cellist learns tenor clef and
expands his or her range through 7th position. The cello student learns more
bowing styles, including lengthier slurring, staccato and spiccato. Pieces call
for continuous vibrato. Double stops are included in many of the etudes and
solos. (Littrell, 1997, p. 45)
Three concertos are listed in grade three: Concerto No. 4 in G major and Concerto No.
5 in d minor by Goltermann and Mendelssohn’s Student Concerto in D major.
A revised version of the third movement of the Goltermann Concerto No. 4 in G
major is the first concerto in Book 5 of the Suzuki 10-volume method. The cello part
may have been revised due to the length or to the advanced technique required to play.
In the middle section of the third movement, the cello part goes into treble clef where
50
the player has to have facility in thumb position. The piece is also highly repetitive,
which may have contributed to the removal of mm. 96-308 out of 459 measures. For
this study, the Concerto No. 4 in G major by Goltermann, which has been on the
major repertoire lists (Table 3) as an intermediate concerto, will be used for a
comparison study with two of Vamos’s compositions.
Table 3 Summary of Pieces for the Intermediate Cellist Found in Repertoire Lists
Repertoire List Goltermann Mendelssohn Klengel Bréval Potter Concerto No. 4
Concerto No. 5 Concertino
No. 1 in C major
Concerto No. 1 Concerto No. 2
Royal Conservatory
Concerto No. 4-Movement III
Student Concerto in D major
Concertino No. 2 in G major
Concertino No. 1 in F major
ASTA Concerto No. 4 Concerto No. 5
Student Concerto in D major
Suzuki Book 5 Concerto No. 4-Movement III
Theoretical Analysis of Goltermann
The Concerto No. 4 in G major follows a three-movement overall form with
tempo markings Allegro for the first movement, to Andantino in the second
movement and Allegro molto in the final movement. The first movement centers
tonally in G major, the second explores B minor with a central a modulation into B
major, and the last movement returns to G major. The form of each movement is
outlined in Tables 4-6. For a detailed table on the theoretical and pedagogical
analysis refer to Appendix G.
51
Table 4 Form: Concerto No. 4 in G major Goltermann-Movement I
Measures 1-34 35-56 57-76 77-78 79-119 119-139 Form A
(orch) B (solo enters)
C Trans. (orch)
D A1
(orch) Table 5 Form: Concerto No. 4 in G major Goltermann-Movement II Measures 1-41 42-72 73-92 Form A B A1
Table 6 Form: Concerto No. 4 in G major Goltermann-Movement III
Measures 1-12 13-72 73-112 112-159 160-196 196-224 Form Intro
(orch) A (solo enters)
Trans. B Closing Material
Trans.
Measures 225-284 285-324 324-371 372-412 412-459 Form A Trans. B Closing
Material Coda
Theoretical Analysis of Vamos Concertos
Grace Vamos composed two concertos for the young cellist. In comparison to
the standard concerto by Georg Goltermann, Concerto No. 4, the overall size and
scope of each work is shorter (Figure 3). The Cello Concerto in D minor for cello
and piano also known as the “Cory Concerto” was published in 1974 with a
dedication to Cory Soltau, Vamos’s grandnephew. The concerto follows a three-
movement overall form with tempo markings of Maestoso for movement one, to
Lento espressivo for the second movement and Allegro in the final movement. The
52
Figure 3. Length of concerto movements by measure numbers.
first movement centers tonally in D minor, the second explores E minor, and the last
returns to D minor with a middle section in A minor. The form of each movement is
outlined below in Tables 7-9. For a detailed table on the theoretical and pedagogical
analysis refer to Appendix H.
Table 7 Form: Concerto in D minor Vamos-Movement I
Measures 1-4 5-19 20-38 36-38 39-54 55-62 63-82 Form Piano
Introduction A B Transition Cadenza Transition A1
Table 8 Form: Concerto in D minor Vamos-Movement II
Measures 1-10 11-21 21-29 30-40 Form A B Cadenza A1
The Concerto in E minor is known as the “Betty Rae Concerto” dedicated to
Scott’s daughter, Rae Elizabeth Scott, now known as Res Peters who studied with
Vamos. The concerto follows a three-movement overall form with tempo markings
0 200 400 600
Movement Three
Movement Two
Movement One
Vamos E minor
Vamos D minor
Goltermann
53
Table 9 Form: Concerto in D minor Vamos-Movement III
Measures 1-16 17-60 61-87 88-149 150-198 198-239 240-257 Form Introduction A B
Piano C Cadenza A Codetta
Moderato for the first movement, then Andante espress., and Allegro con spirito for
the last movement. The first movement centers tonally in E minor, while the second
explores G major with a middle section in E major, and the last returns to E minor.
The form of each movement is outlined below in Tables 10-12. For a detailed table
on the theoretical and pedagogical analysis refer to Appendix I.
Table 10 Form: Concerto in E minor Vamos-Movement I Measures 1-8 9-24 25-45 46-61 62-69 70-88 Form Piano
Introduction A B Cadenza Transition A1
Table 11 Form: Concerto in E minor Vamos-Movement II Measures 1-24 25-47 47-54 55-86 Form A B Transition A1
Table 12 Form: Concerto in E minor Vamos-Movement III Measures 1-6 7-26 27-42 43-60 61-67 68-92 92-115 116-123
Form Piano Intro
A B C Trans. Cadenza Into & A1 Codetta
Vamos may have represented the two concertos based on the character of the
two dedicatees. Scott described the Concerto in D minor as the “masculine” for Cory
54
Soltau in comparison to the Concerto in E minor, which is described as “feminine”
for Betty Rae. In the first movement of the concerto, the piano sets the stage with a
four measure introduction in a forte dynamic of bombastic seven note chords on beat
one and then expands to the lower register of the piano in triple octaves on the note D,
which establishes the key of D minor. The opening four-measure statement of the
cello part begins on the lowest string (note D) with five consecutive down bows and
then scalar and arpeggios surrounding the key of d minor all in a forte dynamic.
In comparison the E minor concerto starts with an eight-measure introduction
in the lower register of the piano with a recurring B octave pedal point in the left hand
and parallel first inversion chords rising and falling. The introduction sets the stage
for a lyrical cello melody marked cantabile with an ascending e minor arpeggio and a
falling cascading line between first and fourth position (Figure 4).
According to Peters, Vamos started composing the concertos while Peters and
Soltau took lessons. The collaborative nature of her compositional process with her
students was central to the development of both concertos. Vamos would bring
manuscript of parts of the pieces and experimented on both Peters and Soltau during
lessons. The close relationship between the student and teacher is evident in the
dedication page provided by Res Peters (Figure 5). The world premiere took place in
December of 1962 at the Soltau’s house when both children were 11 years old where
Peters performed the Concerto in E minor “Betty Rae Concerto” and Soltau
performed the Concerto in D minor “Cory Concerto.” Vamos invited her “circle of
55
Figure 4. Excerpt from Vamos’s Manuscript of Movement I, “Betty Rae Concerto.”
lady friends” for a luncheon and the concert of both concertos with Vamos
accompanying on the piano (R. Peters, personal communication, February 18, 2012).
The picture in Figure 6 was taken at the world premiere concert.
56
Figure 5. Dedication Page of the Concerto in E minor from Vamos to Peters Used with permission.
The theoretical analysis of the Goltermann and Vamos concertos reveal the
similarities and differences in terms of measure length and form. The first and third
movements of the Vamos concertos are significantly shorter than the Goltermann,
while the second movements are similar in length and form (ABA1). A key
57
Figure 6. Cory Soltau and Betty Rae, December 1962, Walnut Creek, CA Used with Permission of Res Peters. distinction in the form of the Goltermann and Vamos concertos is the addition of the
cadenza. While Vamos composed her concertos with specific students in mind, this
may have influenced her approach to the technical and musical demands for the
cellists in her pieces. In the next chapter I explore and analyze the concertos from a
pedagogical perspective.
58
Chapter 4
Pedagogical Comparative Analysis of Goltermann and Vamos Concertos
In this chapter of the dissertation, I compare and contrast the Vamos concertos
with the Goltermann concerto through a pedagogical lens. Using Yang’s (2000)
summary of intermediate pedagogical concerns, the analysis focuses on the approach
to expanding left-hand technique, variety of bowing techniques, performance practice
of three-four note chords, finger facility/velocity, extended techniques, and
developing musicianship and interpretation.
Left-hand Technique
Vamos composed an eight-measure excerpt in the B section of the first
movement in the D minor concerto to reinforce the shifting technique of finger
substitution on the same note while keeping the left hand in a closed unit with all
fingers a half step apart. In measures 20-28 (Figure 7), Vamos sequences a two-
measure statement and modulates the motive from d minor-f# minor-e minor-g#
minor. Between each shift, Vamos adds a quarter rest giving time for the student to
shift into a different position. The positions explored in this eight-measure group are
1st, upper second, and upper third.
In comparison with the opening movement of the Goltermann concerto, the
student needs to shift in many positions while changing from open and closed hand
position. In the fourth measure of the figure 8, the left hand begins in first position
moving to fourth position and then three notes in upper second position. The next
three notes require a half step shift into extended third position ending with upper
59
Figure 7. Vamos Concerto in D minor-Movement I, Mm. 20-32.
third position for the last two notes of the measure. While it is important for students
to learn the technique of shifting in many different positions in sequential patterns,
this short passage that demands constant shifting with no rests may overwhelm a
student.
Figure 8. Goltermann Concerto No. 4-Movement I, Mm. 103-108.
In Rudolf Matz’s The Complete Cellist (1974), the technique of shifting is
addressed in several stages for the developing cellist which include: (a) shifting
fingers on a string, (b) finger substitutions on the same note and (c) shifting from the
first to fourth position by means of an open string. Rick Mooney’s Position Pieces
60
Book 1 introduces eight positions by means of shifting during an open string, by
finger replacement, or shifting with the same finger or shifting to a different finger.
Many exercises uses an open string as a means of shifting, a shift within a scale-like
passage on one or more strings, and shifting by means of finger replacements.
Variety of Bowing Techniques
The bowing techniques are expanded in intermediate cello repertoire from
separate bows and simple slurs in legato and staccato to more advanced off-the-string
strokes and slurs. Many combination of slurs with separate strokes, hooked bowing
up or down, and consecutive bowing patterns are included in both the Goltermann
and Vamos. I compiled a complete list of bowing combinations and present them in
analysis tables in the Appendix material--for the Goltermann in Appendix G, Vamos
D minor in Appendix H, and E minor in Appendix I. The difference in difficulty
level between the concertos is revealed in each composer’s approach in one advanced
bowing technique called ondeggiando, defined as a slurred bowing concept of
oscillating between strings (Walden, 1998, pp. 164-165). In the first movement of the
E minor concerto by Vamos, the first two-measures of the cadenza uses this bowing
for a short two measure segment where the left hand is in upper second position,
while the right hand can focus on the technique of the bowing (Figure 9).
Figure 9. Vamos Concerto E minor-Movement I, Mm. 46-47.
61
In the second example (Figure 10) of the bowing in the cadenza, Vamos added a shift
from half position to first position back to half, but keeping the fingering the same
between each pattern. Before each of these excerpts, the solo rests, possibly to give
Figure 10. Vamos Concerto E minor-Movement I, Mm. 52-53.
the student a chance to prepare the correct position for each section. The final excerpt
from the cadenza, uses ondeggiando in combination with quarter and eight note
rhythms and slurs and separate bowing (Figure 11).
Figure 11. Vamos Concerto in E minor-Movement I, Mm. 58-60.
In the Goltermann, the excerpts are longer segments of the ondeggiando
bowing in combination with consistent shifting into many positions. The
combination of a difficult bowing and left-hand technique is challenging to an
intermediate student. In Figure 12, the left hand starts in upper third position in the
first measure, then fourth in the second-fourth measure, then in four consecutive
measures, four consecutive shifts from upper second position to lower third position
to half position, and finally to first position.
62
Figure 12. Goltermann Concerto No. 4-Movement III, Mm. 388-395.
In the second excerpt (Figure 13) from the third movement of the Goltermann
concerto, the bowing technique is again combined simultaneously with continuous
Figure 13. Goltermann Concerto No. 4-Movement III, Mm. 412-426.
shifting. The intermediate cellist needs to learn this bowing technique, which is used
throughout the major repertoire, but the approach of Vamos could be considered a
preparation to the Goltermann concerto.
Vamos may have been influenced by the technique found in the Goltermann
concerto when composing her two intermediate concertos. She mentions the
Goltermann in her letter to Scott on May 21, 1976, “And, as you say, the Vamos
compositions are excellent teaching material,--so much better than Goltermann,
63
Romberg, Klengel. Hooray for us!” In measures 150-157 (Figure 14) of the third
movement of the D minor concerto and in measures 176-183 (Figure15) of the third
movement of the Goltermann concerto, the same rhythm and bowing technique is
evident. Each composer used triplets with the bowing of one separate and five notes
slurred with the same articulation with a tenuto over the separate note. Also, both
excerpt remain in one position, allowing the student to focus on the bowing and
articulation.
Figure 14. Vamos Concerto in D minor-Movement III, Mm. 150-157.
Figure 15. Goltermann Concerto No. 4-Movement III, Mm. 176-183.
Performance Practice of Chords through Notation
Vamos’s approach to notation seems to be student-centered and focused on
teaching the student how to play a specific skill. In the first movement of the
Concerto in D minor, Vamos is precise in the notation of three-note chords, showing
the student to start the lowest note before the beat by composing a grace note (Figure
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16). Vamos also keeps a pedal point in the first three chords of A, while the other
notes change, and then changed the pedal point to G, while keeping the other notes
the same in first position. In the second movement of the same concerto, Vamos
Figure 16. Vamos Concerto in D minor-Movement I, Mm. 39-42. notated pizzicato chords, with two sixteenth-note grace notes and one main principal note (Figure 17). Walden (1999) summarizes the difference in the written chords and
Figure 17. Vamos Concerto in D minor-Movement II, Mm. 24-25. the actual execution of chords as described by three treatises on cello playing, Baillot:
Méthode, Rabaud: Méthode and Brodley, Chats. The explanation of how to play
three and four note chords by Rabaud is similar to how Vamos shows the chords in
both movement of the Concerto in D minor (Figure 18).
Goltermann also composed three- and four-note chords (Figure 19), but used
the traditional written approach and emphasized the tonic and dominant harmonies at
the end of the entire concerto. In contrast to the chords in the Vamos concerto, the
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Figure 18. Rabaud: Méthode, Excerpt from the Cambridge Companion to the Cello
of written chords and the execution of chords (Stowell, 1999, p. 193).
chord’s lowest note changed and the last three measures are in fourth position instead
of remaining in first position.
Figure 19. Goltermann Concerto No. 4-Movement III, Mm. 454-459. Variety of Pizzicato
Vamos was devoted to the sound of her compositions and to challenging her
students and even performers of her pieces to create beautiful sounds. Peters
remembered that during each lesson with Vamos, tone was a priority whether playing
scales, arpeggios or solos (personal communication, February 18, 2012). Vamos
provided several ways to pizzicato because of the different sounds it creates.
I love a beautiful pizzicato,-that’s why I wrote the passage in the second
movement of the Cory Concerto. Too often a student just plucks the string in
a dull way,-instead of realizing that there are many ways of producing beauty
& variety. (G. Vamos, personal communication, January 19, 1976)
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Vamos indicated in the notation when the student should use the thumb, but also
musical directions to guide the interpretation of the piece. In measures 24-25 (Figure
17), Vamos notates cantando during the pizzicato chords, then directly in the next
two measures, thumb pizzicato with motion and then ritardando (Figure 20), where
the cellist takes over the accompanist role in measures 28-36 (Figure 21), while the
piano part echoes the cello melody from the beginning of the movement. In measures
Figure 20. Vamos Concerto in D minor-Movement II, Mm. 26-27.
Figure 21. Vamos Concerto in D minor-Movement II, Mm. 28-29.
37 and 38 (Figure 22), thumb pizzicato returns with the direction of cantando and
vibrato that fades away. The variety of pizzicato is evident in the second movement
of the Cory Concerto. Vamos was devoted to the different sounds created by various
pizzicato that would expand the student’s techniques.
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Figure 22. Vamos, Concerto in D minor-Movement II, Mm. 37-38.
Extended Techniques
Vamos also added harmonics to many of her compositions to create a certain
tone color, “I love the sound of harmonics,--similar to the tone of a boy soprano” (G.
Vamos, personal communication, May 31, 1976). In the concertos, Vamos included
natural harmonics for color and to expand the range of the cellist. In the second
movement of the D minor Concerto, in measure 40 (Figure 23), the harmonic
enhances the fade away quality of the ending.
Figure 23. Vamos, Concerto in D minor-Movement II, M. 40.
In the first movement of both Vamos’s concertos, the masculine versus feminine
characteristic is revealed in how the harmonic is used in conjunction with contrasting
tempos, dynamics and use of range.
In measures 79-82 (Figure 24), Vamos composed a codetta in a slow (Lento)
tempo in a fortissimo dynamic level with emphasis on D minor harmony with a range
from D2 to A5, the harmonic A in treble clef ending on the low D with three
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consecutive down bows. The high A harmonic expands the range of the intermediate
cellist and challenges the student to explore the higher registers of the instrument.
Figure 24. Vamos, Concerto in D minor-Movement I, Mm.79-82.
Vamos used a similar technique in measures 86-88 (Figure 25), but composed a color
of sound and mood that is transcendent. Vamos emphasized the tonic chord of e
minor through an ascending arpeggio in eighth notes and then triplets with a
diminishing dynamic level, which leads to the high E5 harmonic in treble clef in
pianissimo.
Figure 25. Vamos, Concerto in E minor-Movement I, Mm. 86-88. Developing Musicianship and Interpretation
The cadenza is a recurring component in the movements of Vamos’s
concertos. When analyzing the cadenzas, I began to ask several questions: (a) Do
other student concertos have cadenzas? (b) What does this teach the intermediate
cellist? (c) Is Vamos showing the cellist how to compose a cadenza? (d) Why did she
add cadenzas? In 5 out of 6 movements of two concertos, Vamos added a cadenza in
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contrast to the Goltermann concerto, where no cadenzas are included. I searched for
cadenzas in four other student concertos mentioned in the repertoire lists (Potter,
Royal Conservatory, ASTA), including Breval’s Concertino in F major and Concerto
No. 2 in D major, Klengel’s Concertino No. 1 in C major, and Goltermann’s
Concerto No. 5, but none of these “standard intermediate” concertos have a cadenza.
According to the Grove Dictionary, a cadenza is “virtuoso passage inserted near the
end of the concerto movement” and “an important structural part of the movement”
(Badura-Skodal & Jones 2001, p. 783). Vamos understood the importance of the
cadenzas, so the younger cellist could experience and learn how cadenzas are
developed. Scott stated, “She (Vamos) wanted to teach them that non accompanied
passages could be freely interpreted from their souls” (personal communication,
January 28, 2009).
In the third movement of the Concerto in E minor, Vamos based the elements
of the cadenza on several ideas. Two of the main melodic ideas, the A-theme (Figure
26) and B-theme (Figure 27), are fragmented and modulated throughout the cadenza.
The other main component of the cadenza is virtuosic finger facility passages in
arpeggiated-diminished chords and scales.
Figure 26. A theme of Movement III, Concerto in E minor.
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Figure 27. B theme of Movement III, Concerto in E minor.
Figure 28. Cadenza from Movement III, Concerto in E minor.
Vamos emphasized the importance of the cadenza by including many into her
concertos. Many of the advanced cello concerti have similar approaches to the
cadenza, which may be written by great cellists or the composer, and Vamos realized
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that younger cellists could experience these unaccompanied moments that develop
their approach to musicality and virtuosic playing.
According to Marilyn Blanc, a former teacher at the College of Holy Names
in Oakland, CA, where Vamos endowed two scholarships and her compositions,
Vamos fills a “gap” in the cello literature with her concertos:
Grace Vamos has combined her career as cellist and teacher with a unique
talent in composition and has written cello literature for all levels of ability.
In addition she has produced missing links in progressive learning with her
“introduction to Thumb Position” and two student concertos, one in the
process of orchestration. For over eight years, I have been teaching her music
and have found it a valuable contribution to the progress and enthusiasm of
my pupils. (Unpublished brochure, 1983)
Through analyzing the Goltermann and Vamos concertos with a pedagogical lens,
each piece expands the left-hand technique by using several different positions
throughout. Vamos provided the students with rests to prepare the left hand for
shifting, while the Goltermann compresses many shifts in a row without any rests.
Each piece introduces new bowing techniques and challenges the student with many
bowing combinations and several note slurs, but Goltermann combines the bowing
with many consecutive shifts. Vamos placed importance on tone color, sound, and
musicianship through the addition of natural harmonics, variety of pizzicato, and
cadenzas. The concertos by Vamos add to the existing core repertoire as a 20th
century piece by a woman composer who composed from a pedagogical perspective.
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Chapter 5
Conclusions and Recommendations
Conclusions
Cello instructors continually search for music that both sparks an interest from
the student when hearing the piece for the first time and is pedagogically appropriate
for the development of the student. In regards to the Suzuki progression, many
teachers are looking for supplemental repertoire to “fill in the gap” within a certain
level book or even between books (Barrett & Wood, 2003; Casey, 1999; Reynolds,
2006; Tarr, 1997, 1998). The music of Grace Vamos may answer this call for many
teachers. Vamos, an American contemporary woman composer, wrote successfully
for student-level cellists. Kathy Scott describes the impact of Vamos’s music on her
teaching career:
Grace Vamos, cellist-composer, combines musical magic with sound
pedagogy to create progressively difficult solos and ensembles for the
beginning cellist to the fine artist performer. Vamos compositions have been
an integral and indispensable part of my teaching curriculum for twenty-five
years. (Unpublished brochure, 1983)
This case study of Grace Vamos documents the contribution of a woman
music educator and aims to fill the gap in the current research on the influences of
women in the field of music education. The research questions explored include:
What is the musical background of Vamos? Why did she compose music for young
cellists? How did her cello teaching inform her cello compositions? What do the
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pieces of Vamos add to the existing cello core repertoire? How do the pieces address
the pedagogical needs of the intermediate cellist?
A qualitative approach was applied to explore research questions through (a)
description of Grace Vamos’s life, (b) analysis of her compositions in comparison
with traditional intermediate core repertoire, and (c) analysis of selected solo
repertoire. The methodology of the first section of the dissertation included
collection, coding, and analysis of three types of documents: the content of personal
letters written by Vamos, interviews with her former students, and email
correspondence with other contacts of Vamos. In the second part, I analyzed selected
intermediate compositions by Vamos through a theoretical and pedagogical lens,
comparing her work to other standard cello literature by Goltermann.
The dissertation provides a glimpse into the personality and multiple roles of
Vamos as teacher, composer-collaborator, and mentor. Vamos was educated at
prestigious universities abroad in Paris and studied with Kodaly in Hungary for a
short time. She also performed with the group Trio Moderne and a string quartet in
Mexico. All the students and “grand-pupils” that came into her life were treated with
the highest level of respect and became her family. Vamos’s teaching approach was
described as a “dissector,” taking pieces apart, finding the challenging sections, and
composing short exercises based on those spots. When composing her pieces, the
pedagogical ideas of intonation, ear training, and tone production was at the forefront:
The alternating halftones & whole tones on Page 2 are extremely difficult to
play in tune,--an excellent study,--then the group of major thirds, descending
74
chromatically are fine for ear training. The harmonics should be playing with
a beautiful tone. (Vamos, personal communication May 31, 1976)
The legacy of her teaching career continues through her student, Kathy Scott, who
taught for many years, and her collaborative approach with her students is evident in
how her pieces were composed. The many roles of Vamos is described eloquently by
former student Peters:
With the unveiling of new compositions, ink barely dry….the breathing and
finger stretching, walking and dancing rhythm…the soup and crackers around
the kitchen table and stimulating exchange of ideas…the spontaneous
performances for our ever-appreciative Ernest…our lesson embraced so much
more than the rudiments of cello technique. They were family. (personal
communication, April 17, 1988)
Through the analysis in a theoretical and pedagogical lens of Vamos’s
selected intermediate compositions Concerto in D minor and Concerto in E minor,
results suggest the merit and contribution of the pieces to the existing cello repertoire.
The solos of Vamos challenge the students but does not necessarily overwhelm the
student in terms of developing left-hand technique by expanding the positions and
shifting on the instrument, a variety of bowing techniques, performance practice of
three- or four-note chords, finger facility/velocity, extended techniques and
developing musicianship and interpretation. When a new skill is introduced, e.g., a
bowing technique, the left hand remains in one position or minimally shifts from one
position to another, unlike other pieces such as the Goltermann Concerto No. 4,
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which expect the student to shift to several different positions while executing a new
bow stroke. The Goltermann is a staple in the cello literature, and the Vamos
concertos would be a logical stage for the intermediate cellist before learning the
Goltermann. The compositions of Vamos do not replace existing cello literature, they
enhance the repertoire and provide new sounds and experiences for the young cellist.
Recommendations
The visibility of Vamos’s music has been confined mostly to the West Coast
in California, where she grew up and lived for the majority of her life. The only
known competition to promote her music is the Contra Costa String Association
Competition. This dissertation on Vamos and her music brings her forward as a
woman music educator in the field of string music education, specifically cello, and
through the dissemination of her story, I hope other cello teachers will take note of
her music. In order to draw attention to Vamos and her music, a recording of her
pieces in a systematic way is needed, to create a discography based on difficulty level,
genre, and solo or ensemble works. Further study to investigate Vamos’s other
pieces through a pedagogical lens could show her compositional approach to the
beginning cellist: First Position Pieces for the Cello, to thumb position: Introduction
to Thumb Position, and to her original and arranged ensemble music.
Additional research should explore if there are other teacher and composers
who provide pedagogical appropriate material for beginner, intermediate, or advanced
students whether it be solo or ensemble music. I encourage other composers, even
though challenging to stay within the limitations of the technique of the beginner or
76
intermediate player, to create pedagogically appropriate material. Providing new
music to younger players will develop their ear training for music that is not confined
to the typical classical harmony, which will prepare them for playing more advanced
new music.
I encourage teachers to explore the possibilities of other intermediate
repertoire by other lesser-known composers in hopes of finding additional music to
incorporate into their teaching curriculum. Each cellist responds differently to a piece
of music, and what may motivate one student to practice and learn will probably be
completely different for another student. Finding a plethora of music for the level
appropriate for players will address not only the student’s needs and interest, but also
the teacher’s curriculum.
Finally, I encourage teachers to compose for their own students. Vamos as
cellist, performer, and teacher saw a gap in the cello literature for her students and the
students of Kathy Scott, and she found a solution by composing and arranging solo
and ensemble music for the young and intermediate cellist. If teachers find that their
students are having difficulty with specific technical and music issues, they can create
a solution through composition to serve the needs of each student.
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Repertoire Resources
Breval, J. B. (Composer). (1938). Cello Concerto No. 2 in D major [Sheet music].
Nice: G. P. L. Delrieu.
Breval, J. B. (Composer). (1932). Concertino No. 1 in F major [Sheet music]. Paris:
G. P. L. Delrieu.
Goltermann, G. (Composer). (1956). Concerto No. 4 in G major, Opus 65 [Sheet
music]. New York: International Music Company.
Goltermann, G. (Composer). (1915). Concerto No. 5 in D minor, Opus 76 [Sheet
music]. New York: Carl Fischer.
Klengel, J. (Composer). (n.d.) Concertino No. 1 in D major, Op. 7 [Sheet music].
Leipzig: Breitkopf & Härtel.
Vamos G. B. (Composer). (1974). Cello Concerto in D minor with Piano
Accompaniment [Sheet music]. San Francisco: Vamos Publications.
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Vamos, G. B. (Composer). (1983). Cello Concerto in E minor with Piano
Accompaniment [Sheet music]. San Francisco: Vamos Publications.
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Appendix A
Interview Questions
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Interviewee: Kathy Scott Relationship to Vamos: Former Student and Collaborator/Mentee of Grace Purpose: Biographical, Student/Teaching and Pedagogical Perspective Dates of Interviews: December 18, 2011 and December 19, 2011 Recorded: GarageBand 1. When did you begin your studies with Grace? 2. What were lessons like with Grace? 3. How would you describe the relationship between you and Grace? 4. When did the studies change into mentor/mentee lessons? 5. What was her approach to teaching? 6. Did she use the elements from the Suzuki method or any other method? 7. Why do you think she decided to arrange and write music for the cello? 8. How often did you use her music in your teaching? 9. Grace mentioned a Dr. Curtis in her letters to you? 10. Who is Dr. Curtis, what was his involvement in the scholarship fund? 11. Grace mentioned trying a six-week course of group lessons for beginners-did you have this class? 12. What topics did the class include? 13. Who set up the Grace Becker Vamos Scholarship Fund? And when was it started? 14. What was the purpose of the Grace Vamos scholarship fund? 15. Can you talk about the Appreciation recital? 16. At this point, were most of your students working on pieces by Grace? 17. What pieces did you like to use the most? 18. Why do you think Grace liked the Vamos compositions as teaching material over Goltermann, Romberg, Klengel?
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19. Did you teach the Marsh sisters? 20. What piece did Grace write for them? 21. At first, was the piece easy or difficult for the students? 21. Did they name the Duo? (Vamos mentioned this in her letter) Interviewee: Cory Soltau Relationship to Vamos: Grandnephew of Vamos, studied cello with Vamos and Scott from age 8-18 Purpose: Biographical, Student Perspective Dates of Interviews: January 18, 2012 Recorded: GarageBand 1. What is your earliest memory of Grace? 2. What is most memorable? 3. How would you describe lessons with Grace? 4. What musical activities do you remember doing during your lessons? 5. What were your first impressions of the D minor concerto? 6. When and where did you first play the concerto? Interviewee: Res Peters (Betty Rae Scott) Relationship to Vamos: Daughter of Kathy Scott, studied cello with Scott and Vamos Purpose: Biographical, Student Perspective Dates of Interviews: February 18, 2012 Recorded: GarageBand 1. What is your earliest memory of Grace? 2. What is most memorable? 3. How would you describe lessons with Grace? 4. What musical activities do you remember doing during your lessons?
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5. What were your first impressions of the E minor concerto? 6. When and where did you first play the concerto?
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Appendix B
Transcribed Letters from Grace Vamos to Kathryn Scott
To respect the privacy of Grace Vamos and members of the Kathryn Scott family
sensitive personal information has been removed from the letters.
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Fir Acres Nov. 28, 1975 Dearest Kathy- …personal information removed…And Cory played cello. As you know he scarcely ever touches the instrument,-what with his heavy schedule of studies & his helping Lorraine with her horse business. But he played beautifully &had such joy in getting back to it that he went on & on & would have done even more, only I wanted Ernest to play for them before it got too late as they had to return home last night. Kathy, I just can’t understand the miracle of his playing. I never in my life have a known of a person who could play well & beautifully without practice. We did Arioso, Grave, three movements of my Suite, the first movement of Brahms’ E minor Sonata * the whole Cory Concerto. The latter was done with such elegant style—utterly amazing. He never did it better. He did the last movement at a terrific speed with the bow flying in light spiccato & accurate clean left hand work in the center section of the movement. It was thrilling! …personal information removed… Now as to your plans for the gala celebration, April 17, 1976! I accept with great pleasure on the conditions that there will be absolutely no presents,--& that instead of dinner & an evening performance,--let’s have it an afternoon performance with a party of ice-cream & cookies & punch & coffee. The music will go much better if they start off with it right away, instead of after eating & visiting first. We think it would be much more meaningful to have it a real music party of my “grand-pupils” doing my compositions. Has there ever been such an event in the history of the world? …personal information removed… Much love- Grace
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Friday morn February 1976 Dear Kathy- I gave your message to Dr. Curtis. He didn’t bother to wait & check his bank statement but wrote a new check immediately. It seems as though he is just about as bad about book-keeping as I am. We couldn’t remember if he had had one or two lessons in December but since I left on the 19th, it most likely was just one. If you find the other check, destroy it.—There were no lessons in January, but he was here Tuesday night & as enthusiastic as ever. I don’t see how he is able to practice evenings, since he leaves home at 6 in the mornings & gets home at 6 P.M. or later. But gradually he is progressing & his desire is so great,--it is really quite inspiring.— Hope your mother is better— Much love- Grace
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Fir Acres March 3, 1976 Dear Kathy— We loved every minute of your visit here & wish the time had not flown away so fast. I had planned to work with you again in the afternoon, but I got wrapped up in Betty Rae’s lesson,--on & on,--& of course, she needed help more than you do. As you know, I haven’t taught the Saint-Saens Sonata in years,-but on reviewing it now I can see it has much beauty & is an excellent study for a player of medium ability. It’s not as difficult as the Grieg but it has similar possibilities of both heavy dramatic style & lyric tone passages. I’m sure you’d find it very useful in teaching. Work on it a bit & we’ll go over it together at your next lesson. …personal information removed… Dr. Curtis came Thursday. Like your new student, he always arrives starry-eyed with eagerness & anticipation. He loves his lessons & is really improving,--he told me he even enjoys hearing himself play at times when it goes right. I gave him the check but he asked us to keep it & apply it to last month’s lessons so that his bookkeeping would not have to be altered. –So here it is with another one.— I had an inspiration that might be worth trying. It depends on whether you have several elementary pupils who need help on the basics of music. How about offering a six weeks course of group lessons free, to give them an hour a week of rhythm, ear-training, reading, etc. This would come out of the scholarship fund which would pay you $10—an hour. I have many interesting ideas along that line,--& I’m sure you yourself have made many discoveries. If the idea appeals to you,--start off on it right away. Hope you can come for a lesson when I am in S.F. early next week,--& we’ll do some work on planning a course.—I realize that it may not fit into your busy schedule at present,--in which case we’ll postpone it. But I think it would put them way ahead,--& ease the strain of teaching basics separately to each pupil.— …personal information removed… I’ll telephone when we get to S.F.—Maybe Saturday,--or maybe Monday.— Love to you both— Grace
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Fir Acres—
April 1, 1976
Dear Kathy—
Only 16 more days before “The Party of the Century!” I can scarcely wait! And believe it or not, I, the world’s worst shopper, went shopping when I was down in S.F. & bought a beautiful new long dress for the occasion. When my brother telephoned me for your number, he sounded thrilled over the invitation & so sorry that they will arrive a bit late. He wanted to know if all fifteen cellists would perform on the same cello, wondering if there would be room in your house for so many instruments. I’m thinking it over, I have decided that I want to give a hundred dollar award to each of the two girls who are so outstanding in their progress. So will you draw $200.00 from the account & have a draft or cashier’s check of $100 made out in each name & signed “Grace Vamos Scholarship.” Hope you approve of this idea. It will be such fun to present each performer with a copy of music at the close of the program & then as a grand finale give the two awards. I’m wondering how you ever dreamed up to plans for this unique birthday party. It was a wonderful inspiration & I greatly appreciate being honored this way. I well know the extra work one puts into preparing a pupil for performance, & preparing the house & the refreshments & everything. You have your hands full with this super-colossal event, but I trust that you will have plenty of help & will not overdo.— …personal information removed… There’s been a change of the date of the Hungarian banquet to April 7, but I doubt if we are going down to it. You remember we made a tentative date for a lesson on April 16 but we may not be going down until the 16th. Moreover I don’t think you should consider going to S. F—etc. the day before the party. If you have Monday, April 19 free,--hold it for a lesson that day if we stay down that long.— And so, my dear here’s tra-la-la greetings & love until we see you on the 17th. Fondly— Grace
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Fir Acres—Thurs. eve—
April 9, 1976
Dearest Kathy—
Dr. Curtis just left after a thorough lesson on the 4th Beethoven Sonata. At last he is feeling quite at ease in thumb position & was able to do those difficult passages in the last movement quite well. Unfortunately last month he was away at a medical convention,--also a long week-end skiing in the mountains, so he had only one lesson. But he has learned how to practice constructively & is reaping results from whatever time he puts at it.—Here’s another check. Received your letter & loved your remarks about your beginners. How well I know what an ordeal it is to face an audience for the first time. But if you keep stressing the idea that this is a party not a recital, it may help ease the tension. I am very interested in hearing those compositions & hope that someone will do the “Baritone Bumble Bee” which I have never heard. All in all it will be a very exciting & unusual experience,--a while afternoon of my cello compositions, all inspired & engineered by your skillful teaching.— If I can get Ernest moving, we will arrive early so as to be then when the first guests arrive. See you on the 17th— Love- Grace
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Monday aft—
April 19, 1976
Kathy dear-
A real letter to you & Larry will be on it way shortly. This brief note is just to request you to address the enclosed letter to the young woman who announced the invitation to the cello club next Sat. I have written to tell her how sorry I am that I cannot be there. I’m wondering who will be playing a composition of mine & which one. If any of your pupils are going, ask them to let you know & pass on the information to me when I see you. I’ve just written the Hargroves & Gina & Alice, sending them each one of the beautiful programs. Ernest is sending one to relatives in Cleveland, Caracas, & good friends in Jerusalem. I’m still up in the clouds! It’s wonderful. Love-Grace
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Fir Ares
April 22, 1976
Dear Kathy & Larry-
This is the most difficult letter to write because there are no words to express my appreciation for all you did to make the “Appreciation Recital” the most wonderful birthday party of my long life. In working out the details you two were absolutely inspired & everything was done with such skill & originality & love that you reached a high point of perfection. I’m sure your hearts were beating fast in the excitement of the affair. Believe me, a couple of times when my eyes were cast downwards I saw that my heart was making the orchids of the lei almost jump off their string. And the Hebrew melody had me fighting to hold back the tears,-it represented so great an achievement on your part, Kathy, to bring the three of you together in a perfect rendition of this exquisite number. And all through the program, Jan’s poetic accompaniments & ability to merge with the performer brought out the best in the music & helped give confidence to the cellists. Kathy, you are a great teacher,--I wont go into details of my observations on the subject now but will talk it all over when I see you. And it is a mystery how you managed to get every one of them to participate & to sail through their number so well,-especially since it was a first time for many of them to get up & play for an audience. Your studio-home with the beautiful mountain beyond is an ideal setting for informal concerts. The acoustics are fine & the spaciousness makes it possible to allow enough space between the performers & audience. And, the printed programs! What a surprise & how beautiful! The one thing lacking was the mention that Kathryn Scott is the teacher of this enthusiastic group of young musicians. Well, as long as you played, & played so beautifully, your name is there as one of the performers. And of course we all know who the teacher is. Perhaps you chose to avoid making the program look like a pupils recital. By the way, which one of you two had the inspiration to call it “Appreciation Recital,”—its just beautiful. How I wish the English language had another word to express beautiful as beautifully as beautiful does. In writing those few remarks about the party, I certainly could use it. Last evening, Gene Corbett had dinner with us & for dessert we feasted on some of the yummy beautiful birthday cake. I have put some away in the freezer, but I cut it so as to have the music on the half we are not using. Believe me, I shall save that part until the very last, but it’s great fun to show it to everyone. Ernest & I joined in describing the party to Gene, “blow by blow,” then after dinner we all sat on the couch & looked at & read the darling birthday cards. I shall treasure them always &
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shall enjoy showing them to friends. They express such enthusiasm over my music, each in their own way. I would like to write a “thank you” to every one but for the present, I’ll ask you, Kathy, to be my messenger & to tell them that their messages & artistic creations mean more to me than I can express. Also, their playing my music for me made me realize the great value of these compositions for students,--& they have inspired me to try to do more of the same type of writing, also a little more difficult. This resolution brought forth some themes etc. at dawn Monday morn. I had told the Marsh sisters that I would write a duet for them,—so that’s what I started on. One of the hardest things for me is to keep things simple enough,--the real me goes for such odd intervals & modulations. This duo wants to go high & soar on the upper fingerboard. Also it wants to have a piano part, whereas I had planned it unaccompanied. Well, we’ll see what happens! As to surprises,--having Cory—play was almost unbelievable,--and so good for him. He enjoyed it & later was talking to me how he plans to take lessons from you later.—He will go on, I’m sure.—And more surprises—Jan’s & Jean’s solos & the trio,--what more could I dream of.—As I told Gene,--from ”Elephant Dance” through “Tango,” I was transported into a higher realm of music & friendship. And then the banquet!—Super! It meant a great deal to me to have your mother there & to see her progress in restoring speech made it possible for us to talk together. Just another surprise! So much more to say! Ernest & I continue to enjoy talking it over. Wish I could tell you all I feel. Much love-Grace
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Tuesday morn-
April 27, 1976
Dear Kathy & Larry-
Just a line to go off by the morning collection,--to tell you that we sent copies of the beautiful program to the music critics of the S. F. Chronicle, Berkeley Gazette & Oakland Tribune with a personal note calling their attention to this unusual recital in case they would like to put an item about it in the paper. We will watch the Chronicle daily. If you know anyone who takes the other papers, tell them to be on the lookout. I mentioned that the event took place at “the studio of Kathryn Scott, cellist, in Walnut Creek.” You know, it is always good to have publicity about the fine things that take place in a community rather than the emphasis that is given to the bad.--- Thanks again— Love- Grace
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May 10, 1976
Dear Fellow- Cellists-
I believe you set a world’s record on my birthday this year! Never before has a composer has a composer been honored by having eighteen cellists give an Appreciation Recital, performing his or her compositions. I was thrilled to hear each & every one of you do your best to play your number beautifully. And added to that was the thrill of receiving your “hand-made” birthday cards. Ever since the wonderful party, whenever anyone visits us here I show them the program & the cards. So in Ukiah you are all famous for your original drawings & messages, as well as for the fact that you are my fellow-cellists. May you have joy in being a musician & in sharing your music with others. With many thanks & love— Grace B. Vamos
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May 21, 1976
Dear Kathy—
In the rush of packing the car last Saturday morn I forgot to put in my music case. So the new manuscripts were left down there & I will not be able to complete them until after our next trip down. Also the Haydn was in the case so I cannot send it to you to copy the fingerings. Therefore I suggest that you put it aside for the present. Have you ever played the Popper Gavotte? I have been teaching it to Dr. Curtis & I find it is a wonderful study.—including bow work, harmonics, thumb passages, etc. Work on it & try to interpret it with real charm to freedom. It is not hard for you & will be a good balance with the Dvorak. You were a dear to give so much time to helping me with the duets. I think that they will be OK with just a few changes. I would like to do a slow, singing number as contrast to ____two. Unfortunately, I have not had enough quietude to undertake it yet. …personal information removed… We loved the pictures! They were the next best thing to being able to re-live the party exactly as it was. So much was crammed into those few precious hours that it was impossible to absorb it all at once. To me it is a miracle what you are accomplishing with your pupils & I was so glad to have the opportunity to hear & see them. And, as you say, the Vamos compositions are excellent teaching material,--so much better than Goltermann, Romberg, Klengel. Hooray for us!— Will let you know our nest date in S. F.—Was so sorry to have to cancel Betty Rae’s lesson. She has such love for the cello & is playing well.— Love to you both Grace
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Sunday
May 23, 1976
Dear Kathy-
At last, I am liberated from the Duo, which has taken possession of me for nearly two weeks. It’s always that way when I’m composing, the ideas keep coming & going & almost pestering me to work, work, work at them & to lose sleep, etc. At last it is completed & set down in a penciled copy. Now I must get it into more legible form, ready to read through it with you when we get together. …personal information removed… The memory of the gala party lives on. We show the program & the cards to everyone who comes,-also we have shared the delicious cake with others. But I think I’ll keep the strip of it with the concerto notes forever. It gives me a real glow to think of all the darling performers whom you prepared for the recital & who did so well. You spared no effort or expense in carrying out the inspiration to fulfillment in that beautiful event. Again, my deepest thanks. Hope to see you next week. I’ll phone you. Love-Grace
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Fir Acres May 31, 1976 Dear Kathy— Here it is,--“Duo for two Cellos”—I’ve worked day & night to complete this 3 movements & make a legible copy. Go through it & get a little acquainted, then we’ll play it at your next lesson & make the final decisions on it. The Lento is very slow & is a terrific study of intervals, starting off with a series of descending sevenths & ascending sixths. The alternating halftones & whole tones on Page 2 are extremely difficult to play in tune,--an excellent study,--then the group of major thirds, descending chromatically are fine for ear training. The harmonics should be played with beautiful tone. I love the sound of harmonics,--similar to the tone of a boy soprano.—Of course, this has failed to be a simple number, but it is a fine study & I think it quite hauntingly beautiful.—We must decide on names for them. Think it over.— …personal information removed…
We will go down to S. F. on Wednesday June 9,--so I could give you a lesson
on Thurs. or Friday morning. Send me a line to 17th Ave to let me know when to expect you.—Hope your cold is wearing away.— Love- Grace En route home from Cleveland, Ernest stopped at the S.F. house & brought me my music case with the unfinished manuscripts. How thoughtful!
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Fir Acres
July 12, 1976
Dear Kathy-
We are home from our enjoyable vacation in Ashland & are expecting friends from Jerusalem to visit us three days. Then Sunday we leave for Carmel. I made a neat copy of Misty Night on 8 ½ width paper, so we can Xerox it successfully. I plan to do this with the other little pieces, both the cello parts & the piano parts. Thus we can have as many copies as we want made for 10 cents a page. I’m still hoping that I can give you a lesson on Tuesday, July 27th. But we have two real estate people showing the place, & in case of a promising prospect, we would have to rush out here immediately after the Bach Festival. Will let you know by phone if anything arises to change our plans. Otherwise, will expect you Tues. morn. It seems ages since I last saw you.— Love- Grace When I see you let me know if you find any mistakes in Misty Night.
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Fir Acres
August 9 (1976)
Dear Kathy—
Once more I have managed to get out of my slump. Every once in a while it strikes me & I feel as If old age had descended on me at last. But luck is with me again. Just when I was ready to go see a doctor here the bad weakness disappeared! Hooray! I’ve been working & working on a duo for the Marsh sisters. But day after day I would tear up any attempts. It is most difficult for me to compose anything simple enough for the average student. Surely it was a miracle that I did the little Concertos & pieces. Moreover, composing for 2 cellos is not easy when you try to avoid the high registers.—But yesterday I tried again & worked all day to capture the ideas which come to me. I have practically completed a very charming number,--not too difficult yet quite a challenge. I’ll let it set & percolate for a few days,--then will ink a copy and have Ernest do it with me so I can hear how it sounds & make any necessary changes. Then I’ll send a copy to you & to the girls. You know, I told them I would write something for them & now I can keep my word. Also, it will be a good teaching number for you. It looks as if we will not go to S. F. at all this month. Sorry to not be able to give you a lesson but hope to see you & Betty Rae early in September. Much love— Grace
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Fir Acres—Wed.
After Aug 9, 1976 before Sept. 1 1976
Dear Kathy—
The little Duo is completed. Ernest & I both like it & find it very playable.—I have had a copy made for you & for each of the girls. I have not written in the name yet.—waiting until we all decide. I have two suggestions, but I thought it would be fun to see if the girls might select the name for it. We’ll see. We won’t be down until early September. I’ll let you know when we decide on the exact date. Hope we can fit together for a reunion & lesson,--also Betty Rae.— Love to all
Grace
The 3 pages can be opened out on the music stand to avoid turn.
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Sept. 1, 1976
Dear Kathy—
Just when everything is planned for us to go to S. F. next week, certain things have come up that make us change plans!—We will go down on Tues. the 14th & return here on Sunday, the 19th-, And so, dear, I could give you a lesson on Wed., Thurs., or Friday morn,-& am hoping you can come over one of these days. It’s so very long since I saw you,-I really have missed you.—Am looking forward to hearing your cello with its new bridge, etc.- Let me know when you can come, so that I can go ahead with plans for the other days. …personal information removed… Much love— Grace
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Carmel—Fri Morn
July 23, 1976
Kathy dear—
I’m terribly sorry but it will be impossible for me to give you & Betty Rae lessons Tuesday. …personal information removed…We’ll be in S. F. a few days in mid-August. Will let you know in advance & plan a definite date with you.— Love-Grace
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S.F.
Nov. 22, 1976
Dear Larry & Kathy—
I’m sorry I didn’t read the card, which you were here & thus discover that the surprise Christmas gift was not from “The Trio” as you said, but from “The Sextet.” We are thrilled to have these two fine books to complete the series of “The Way They Play.” The(y) are the only books I know in which the artists really analyze & share their secrets of how to play. I have learned a lot from both the cellists & violinists in the other volumes. Am looking forward to making more discoveries now. And the Applebaums present the interviews so skillfully, that one really becomes acquainted with each player. Many, many thanks,--also thanks for the fancy tea & crispy cookies which we are enjoying.— Happy Thanksgiving!
Much love-
Grace & Ernest
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Fir Acres
March 9, 1977
Dear Kathy—
The phone rang at about 6:30 P.M. & I answered to have such a pleasant message that I hasten to shared it with you. “This is Mark Ecles in Calgary & I just finished playing the Boccherini for the Philharmonic Scholarship audition & I won it!” The prize is $1,000.00 but he was more elated over the accomplishment then over the money. This is the spring break of one week’s vacation at Julliard. Since it coincided with the tryouts he decided to come home from N.Y. & take a gamble on winning. No one could be more thrilled over his success than I am. Following our phone conversation I was thinking about the d’Albert & your reaction to my suggestions & suddenly I remembered what a struggle you had with the big stretches in the opening arpeggio passages. So let’s abandon the idea & instead work on (don’t faint) the Vamos Suite. I’d like to have you give me a truly artistic performance of it next lesson. I think you would enjoy working on it again & applying your own interpretations. How about it? Also I hope you have mastered the C major Haydn. It is so charming & such a fine study. …personal information removed… And so time will pass & somehow things will work out & I hope to get down to S. F. the first week of April & have a lesson & visit with you. I believe the account is too low in the Scholarship Fund so I’ll send you a check for $100—in April, to be awarded at my birthday time. Two weeks ago, when cleaning the refrigerator, I enjoyed seeing the piece of cake with the Concerto Music which I stored away in the freezer following the magnificent Appreciation Recital.— Love— Grace
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Fir Acres
March 21, 1977
Dearest Kathy—
Such wonderful, wonderful news in your dear letter.— …personal information removed… And wonderful four times more that all four of your students who participated in the Music Festival received “Command Performance.” You heart must have been beating double-time with the excitement & the triumph. It’s simply phenomenal what you are accomplishing in your teaching.—Thanks for the beautiful compliments on my little compositions. I really want to do more of them for you & your flock. But, alas, it is next to impossible for me to write simple enough music for that grade of work. It was a miracle that I was able to keep the concertos within limits. I’m sorry the Duo went out of bounds. But it’s not too hard & has good contrasts of style & mood.—Mark loves it & will perform it at their Festival.—His letter is so interesting, I had a copy made for you. Some of your pupils would enjoy it too. He is just seventeen, you know.— Very likely, we’ll go down to S. F.—April 4. I could give you a lesson Tuesday or Thursday morn.— Love— Grace
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Wed. morn
(year unknown)
Dear Kathy-
I’m mailing you the Five Pieces but have not had new copies made yet. I have old Xerox copies of them, so don’t need yours, since I will make smaller copies of them for the reproductions.— We’ll be down on Nov. 4-so hope that you can come for a lesson Monday, Nov.7. Try to arrange to stay for a bit more work after lunch. We have so much to go through. I’m writing Betty Rae that she can come on the 5th. Many thanks for your gift books. The Schaeffer book is marvelous, everything he says is so clear & so true. We haven’t started on the Sugar book yet. …personal information removed…
No need for you to write us if Nov. 7 will be OK. But if you can’t make it,
please let me know. Love- Grace
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Fir Acres
Feb. 12, 1977
Dear Kathy-
When we arrived out here, the screen was still out from a party before we left & I hastened to give us a showing of “Appreciation Recital” slides. How beautiful & how precious they are! I relived every moment of the great event. It was such a unique & beautiful party,--it gives me a thrill whenever I think of it. You & Larry really reached the heights of perfection in every detail that afternoon. Once again, my deepest thanks for the bestest birthday party ever! We are going to S. F. on Wednesday. March 2nd, so I hope you can come for a lesson Thursday morning, March 3rd. This time we’ll get right to the music & postpone our visiting until lunchtime. I hope all went well at Bryan’s performance.-As a fellow teacher, I know how keenly you live through not only the pupils playing, but also through the events & challenges that face them along the way.— Love— Grace Happy Valentine’s Day
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Fir Acres—Fri. morn.
April 23, 1977
Dearest Kathy-
I believe I told you how on several occasions Betty Rae in studying a new work asked, “How do they play it?” A very good question yet one so difficult to answer. No matter how “they do it,” eventually we know that we arrive at our own interpretation, yet even that is greatly influenced by performances we have heard. And so, in listening to the magnificent record of the Brahms Double Concerto, I realize it has opened up new vistas for me, some of which I love, some of which I turn away from & like my own so much better. –Rostropovich does the opening solo absolutely legato using down & up bows,--almost with tenderness. I like it all down bows with boldness & abandon.—Now you should experiment & see shat you decide.—It will be very interesting to hear what Mark & his pianist will do with my Suite since they have never heard it & must depend entirely on their own ideas.—Many thanks for your generous gift,--I love both records which happen to be two of my favorite cello concertos. You had accomplished a lot already on the Brahms. I’m sure that when you & Jean work on the string parts together you will make discoveries that will be helpful. You are a wonderful pupil & a wonderful person. I wrote to the Ecles’ some weeks ago & told them of your four pupils “Command” at the festival & described your way of teaching & making music a part of young (and older) pupils’ lives. She wrote back, “What truly great work your student, Kathryn Scott, is doing. Our sincere congratulations to her and to you for such splendid accomplishments. She sounds like such a lovely warm person!” So, you see, your fame has spread across the border.— Much love- Grace
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Fir Acres
May 24, 1977
Dear Kathy & Larry-
I did not write sooner in response to the invitation to the party in honor of Barry’s graduation,--as from day to day I have been hoping that we would decide to go down for it. You see, we have to be in S. F. on June 6 & it would be a matter of making two trips a week apart or remaining in S. F. for nine days. …personal information removed… Much love— Grace & Ernest
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Monday
September 13, 1977
Dear Kathy—
…personal information removed… I had a bunch of Xeroxed music to give you if we had had a lesson when I was
down. Since we wont be down for another month, I’m sending it to you by United parcel.—It will all be useful for you in teaching.—There are ten complete copies of the beautiful Gaillard Sonata, two complete copies of the Betty Rae concerto plus two copies of the cello part,-& two copies of the piano accompaniment of the fifth Vivaldi Sonata, Peters Edition.—It is much simpler than the International Edition & therefore more suitable for amateur accompanists. I’m not satisfied with either edition but think that on the whole, this is better. I’ll show you the Peters copy next lesson & you can look it over & decide if you want to buy it. There is a Continuo (II cello) part, just the pure bass line & quite simple & effective as a duo without piano accompaniment. I’ll have the Bach Sonatas copied for you this week & will send them to you. Thus you will have a nice lot of teaching material. I had ten copies of the Haydn C major cello part made. Will give it & two piano parts (printed) to you when you start studying it next lesson. I’m sure you are enjoying the D major that I assigned. Ernest loves it & does it quite well.
Will write & let you know as soon as we decide the date of our next S. F. visit.
Will have lots to tell you, & lots to teach you. …personal information removed… Much love to you both— Grace
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Monday morn—
September 27, 1977
Dear Kathy—
Thanks for grand letter. I’ve put you down for Monday, Oct. 10. It will be a joy to see you. So sorry Betty Rae can’t make it,--we’ll hope for better luck in getting together in November. I’ve made note of your schedule so that we can arrange our trip accordingly. I’m very anxious to review five of the Cello Suites to prepare you to teach them. I had ten copies made & they turned out fine & black. I haven’t had time to work on the Schumann yet. I’d rather assign the other D major Haydn for you next month. I know it so well & can really teach it. Bring along your copy of the Schumann so that I can study the different editions in preparing it for you. Also bring the inked copies of the little suite, so I can have copies made for you. …personal information removed…. Love- Grace
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November 10, 1977
Dear Kathy-
I’m mailing you four copies of the arrangement for 3 Cellos.—Thus you will have a copy for each player & one for the director, (you)! Also I’m sending 2 copies of Caprice (as I have named the duo I wrote for the Marsh girls). It is really darling & not too hard. The copy is good & black & therefore easier to read.— We have our reservations to leave Dec. 23 on our South America tour. We’re thrilled! Will return on Sunday, Jan. 8 so there might be a chance to give you a lesson on Monday if we don’t leave immediately for Ukiah.— Looking forward to a lesson Dec. 5.—I’m excited about our review of the Bach Suites. You did find work on the first. Remember I predicted you’ll play them very well in about ten years! Ernest is working on the second Bach Sonata. Next year I’ll go over them all carefully & then have copies made for you & your pupils.— Love-Grace (Past the enclosed strip over the last line of the first page of Doloroso.)
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December 16, 1977
Dear Kathy & Larry-
…personal information removed… It makes me so happy when we discover a new pointer in analyzing “How to
play Cello.” You have a wonderful mind for catching on & retaining what I tell you. Your willingness & enthusiasm in teaching beginners bring much joy & hope to your pupils. I feel we both are advocates of the value of the “music experience” in young peoples’ lives & the fun of being a good amateur musician. This shows up clearly in the cases of Betty Rae & Cory, who I am sure will play beautifully again & will love & treasure it.— …personal information removed… Love-Grace
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S. F. May 17, 1983 Dear Kathy & Larry— I was waiting for the Muse to touch me with a magic wand & inspire me with the rights words to sing forth praise of the beautiful 90th Birthday party in a “Thank you” letter to you. (Rather an involved sentence!) Instead the Muse inspired you to write me a “Thank you for coming to the party” letter. I don’t think that Hallmark ever brought out a card on that theme. Certainly, I never received one (You’ve started something new). I was glad to hear that your mother came through the big celebration in such good condition. She looked so happy all evening. I noticed some improvement in her speaking,-she used larger groups of words at times. Betty Rae was an excellent spokeswoman in reading the cards & calling forth a few words from the writers. She is so beautiful & so lovely,--indeed she seems prettier than ever. And when Kathy Ann holds the baby, they radiate a supreme joy of motherhood and beauty. Such Food! Super delicious! Super abundant.—The tables were so well distributed that there was no feeling of being crowded in spite of the large number of guest. Another triumph in your long list of happy parties! Nobody can entertain in such a lovely way as you two do.— I’m excited about the Awards Recital & about the interpretation of my works. The Psalm is very subtle with its many measures of silence for different voices, & with flowing triplet movement in the center. I still feel it might be better to not space the voices so far apart. I will be able to judge it better when I hear it performed. I’m so glad you persuaded me to have the supper party at your house, so much nicer than any restaurant. I’ve planned the menu & hope you approve. Much love Grace
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On World Airway flight May 31, 1983 Dear Kathy & Larry- Year after year, your music parties have been a source of inspiration for performers & for audience. And since “practice makes perfect” you have grown in the art of presenting the young players in such a distinctly personal style, there is indeed the feeling of all being joined in one big musical family. Your presentation of the awards was a masterpiece! It was wonderful how you dreamed up the many categories & were able to present an award for the many varying stages of accomplishment. I loved you “titles,” it made each player feel pride in what they had done. Every music studies should have a beautiful waiting room like you have. The entrance of each player when the door was opened for them gave the effect that they were stepping out on a stage. It was a big surprise for me to find that they had memorized their number! My compliments to their devoted teacher who helped them master it & overcome that fear enough to give a very artistic performance. They all played well & have made considerable progress since I heard them last. The second movement of the Vivaldi was especially lovely. The world premiere of the Psalm was thrilling, coming out of the quietness of the opening phrases to the full richness of the closing measures. The group rendition of the Vivaldi was a thriller. Your handling of the difficult sections was very good & the steadiness of beat was great. I well know how tricky it is to keep a large group moving. When we get together we’ll have to decide on whether I should make parts of the third cello higher,-possible dividing it an octave apart. Congratulations on the wonderful “bow-line” everyone has achieved. Your “invention” is so helpful-you certainly should patent it & put it on the market. Although Marilynn didn’t hear the performances, she just raves about your invention & wishes she could get hold of one. As usual, the abundant refreshments at both intermission & after the music added to the success of the party. The cake was so musical & it was a clever to bring out the idea of the “awards” in the frosting. And last but not least was the joy of being together at the big table for the twilight supper party, - so much more intimate & pleasant than in a restaurant. Larry deserves a special word of praise for his skillful work as “property” man. The chairs were set up & then cleared away by magic & the big grad piano floated across the room without my knowing it had been moved. And for all the other special features & love you poured forth, my appreciation & praise for an unforgettable awards recital. And special thanks for the gorgeous orchid!
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Much love— Grace
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Appendix C
Other Transcribed Letters
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Letter from Ernest Vamos to Larry Scott Ukiah
March 7,1976
Dear Larry,
Enclosed I am sending you a short biographical sketch of our beloved celebrant for the program notes as you requested. You are at liberty to modify or cut the contents to suit the occasion.— …personal information removed…
As ever: Ernest
Short Biography of Grace:
Grace Becker Vamos, a native of San Francisco, resided in Berkeley for many years and studies cello with the outstanding teachers in the area. She concertized extensively with “Trio Moderne” (harp, flute and cello) for which she arranged much of the music, which they performed. A Damrosch Scholarship enabled her to continue her studies in France at the Fontainebleau School of Music and the Paris Conservatory. At a late date she had the privilege of being a student of Zoltan Kodaly, the great Hungarian composer, in Budapest. She has won awards three times in national competitions for composers. One of her prized possessions is a letter from Pablo Casals, praising her “Suite for Violoncello and Piano.” On her return to the bay area she devoted herself to teaching cello and composing. Her compositions include works for piano, violin, flute, cello, harp, voice and chorus, several of which have been published. To encourage music students of the younger generation, the Grace Becker Vamos Scholarship for promising young cellists was established in 1975.
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Letter to student of Kathy Scott from Grace Vamos
Fir Acres
April 30, 1975
Dear Julie-
I have a secret which I was not supposed to tell you until graduation time. But I’m so thrilled over your winning this opportunity to perform with the orchestra that I decided to share my secret with you now. We are establishing a Grace Vamos Scholarship Fund from which an award is to be made to a worthy gifted young cellist each year. We have chosen you to be the first recipient of this little award in recognition of your talent and of the splendid work you have done during your years of study with Kathy Scott. Since you are my “grand pupil” (a pupil of my pupil) I am extra thrilled over your achievement. May your beautiful cello playing bring much joy to you and to others through the many years to come. With love- Grace Vamos
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Letter to Grace Vamos from Betty Rae Scott (Res Peters)
April 17, 1988
Dear Grace,
What a blessing it is, on your 90th birthday, to reflect upon your imprint on my life, with its unique genesis even before my birth. Prominent among my earliest memories, are the glimpses of my mother at her cello, later followed by my climbing the big stone steps to your door, cello in arm, heart racing in anticipation. With the unveiling of new compositions, ink barely dry…the breathing and finger stretching, walking and dancing rhythms…the soup and crackers around the kitchen table and stimulating exchange of ideas…the spontaneous performances for our ever-appreciative Ernest…our lessons embraced so much more than the rudiments of cello technique. They were family. Enthusiastic, adventuresome, disciplined, you have always delighted in our successes, empathized with our struggles, and set us free to find our own path to excellence and joy in music. I now realize that you were not just imparting a love for music, but grooming in us character qualities that would extend far beyond the cello. Self-discipline and diligence through the difficult passages have become commitment to family and friends, come what may. Your tolerance for imperfection, appreciation for honest effort, and encouragement to overcome limitations have made me more patient and flexible with my own children. Your genius clothed in an understated lifestyle has taught me a humility that seeks value apart from materialism. Because you have imparted so much of yourself to me, your old world values, your love, and your untold generosity will continue to shape my life and that of my family. You once remarked that I was born with a silver spoon in my mouth, and as I recount the years rich in heritage and opportunity, I have indeed been blessed. But how thankful I am for your faithfulness in filling that spoon with your love of music, discipline tempered with encouragement, and a resilient enthusiasm for life, all borne of a most generous heart. I pray that these qualities will tenderly nurture those whom I am privileged to feed, as well. How very much I love you, Betty Rae (Res Peters)
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Appendix D
List of Published Original Cello Compositions by Grace Becker Vamos
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Cello and Piano Concerto in D minor*
I. Maestoso II. Lento espressivo III. Allegro
Concerto in E minor I. Moderato II. Andante espress. III. Allegro con spirito
Suite (Sigma Alpha Iota Award) I. Prelude II. Reverie III. March IV. Elegy V. Dance
Restrospection Adios Introduction to Thumb Position
I. Tarantella II. March III. Polka IV. Waltz V. Barcarolle
Five Pieces in First Position I. Elephant Dance II. Misty Night III. Baritone Bumble Bee IV. Merry Little Waltz V. Follow the Leader
For Two Cellos Duo
I. Lament II. Caprice
Italian Suite I. Mysterioso II. Doloroso III. Giocoso
For Four Cellos Psalm
*Orchestrated by Frank Ahrold and World Premiere by Nicholas Phontinos
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Appendix E
List of Published Cello Arrangements by Grace Becker Vamos
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For Two Cellos 18th Century Classics Intrada (Graupner) Aria (Handel) Rigaudon (Rameau) For Three Cellos
Baroque Trios Largo (Vivaldi) Serenade (Sammartini)
For Three, Six, or Multiple Cellos with Piano Hebrew Melody (Achron) Norwegian Melody (Grieg)
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Appendix F
List of Other Published Compositions by Grace Becker Vamos
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For Violin and Piano Poem Serenity For Flute and Piano In the Night (Suite)
I. Bird at Midnight II. Before Dawn III. Stars at Play
Misty Night For Piano Circus, a Suite for Piano Rhapsody Impressions
I. Invocation II. Out of the Mist III. Carnival IV. White Lilacs V. April VI. Twilight
A Memory (for left hand alone) For Harp Legend of the Redwoods For Harp and Piano Inspiration For Voice and Piano Two Songs
I. If the Seas Dry II. Afternoon on a Hill
Tit for Tat (won Ginn Publishing Company Award) Love Song (Words by Elizbeth Maurer)
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Appendix G
Analytical Table: Concerto No. 4 in G major, Op. 65 Georg Goltermann
The left-hand positions are listed in order of apperance according to the system used
Rick Mooney in his Position Pieces I and Position Pieces Book II.
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Title Concerto No. 4 in G major—Opus 65 Composer Georg Goltermann (1824-1898) Publisher International Music Company Edited by Julius Klengel Revised by Leonard Rose Published Date 1956 Number of pages (cello part)
10 pages
Theoretical Tonal centers Movement I: G major
Movement II: B minor-B major-B minor Movement III: G major
Key Signatures Movement I: 1 sharp Movement II: 2 sharps-5 sharps-2 sharps Movement III: 1 sharp
# of movements 3 Meter Movement I: 4/4
Movement II: 6/8 Movement III: 2/4
Tempo Movement I: Allegro (1-80) m. 31 a piacere m. 35 a tempo/energico m. 56. rallent. m. 57 a tempo m. 79 a piacere m. 80 rallent. Poco meno mosso (81-96) m. 88 rallent. m. 89 a tempo m. 93 string. m. 95 rallent. Tempo I (97-139) m. 138 rall. Movement II: Andantino (1-92) Movement III: Allegro molto (1-412) m. 11 rall.
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m. 13 a tempo m. 47 poco ritard. m. 49 a tempo m. 158 rallent. m. 159 a tempo m. 223 rall. m. 226 a tempo m. 260 poco ritard m. 262 a tempo m. 371 rallent. m. 372 a tempo Piu animato (413-460)
Clefs Bass Clef and treble clef (NO TENOR) Range C#2 to A5 Form Movement I:
Mm. 1-34 A (Orchestra) Mm. 35-56 B (Solo enters) Mm. 57-76 C Mm. 77-78 Transition (Orchestra) Mm. 79-119 D Mm. 119-139 A’ (Orchestra) Movement II: Mm. 1-41 A Mm. 42-72 B Mm. 73-92 A’ Movement III: Mm. 1-12 Introduction Mm. 13-72 A Mm. 73-112 Transition Mm. 112-159 B Mm. 160-197 Closing Material Mm. 196-224 Transition Mm. 225-284 A Mm. 284-324 Transition Mm. 324-371 B Mm. 372-411 Closing Material Mm. 412-459 Coda
Dynamic Range pp-ff Grading Advanced Intermediate Left-Hand Technique
Positions
Movement I: Half Position
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Lower Second Position Lower Third Position Fifth Position (D harmonic D4) First Position Fourth Position * in first five measures of the cello part-6 different positions Forward-Extended Lower Third Position Extended Upper Second Position Upper Fourth Position Upper Second Position Upper Third Position Extended Fourth Position Extended First Position Movement II: First Position Fourth Position Fifth Position (Harmonic A and Harmonic D) Extended Upper Third Position Upper Second Position Half Position Upper Third Position Extended Lower Third Position Up to High B—Sixth Position Extended Fourth Position Movement III: First Position Fourth Position Fifth Position Lower Third Position Extended Upper Second Position Upper Third Position Upper Second Position Half Position Up to High B--- Sixth Position Thumb Position Extended First Position Lower Second Position
Thumb Position Entire Piece: Harmonic A (A5) and harmonic D (D5) Movement II:
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Mm. 62-Thumb on F#4 Movement III: Mm. 139-143-Thumb Position (Thumb on D4/A4 harmonics) Mm. 95-96-Harmonics A5/D5
Right-Hand Technique
Bowing Movement I: Slur 4 Slur 3 Slur 2 Slur 9 Slur 8 Slur 5 Separate Consecutive slur 2 Mm. 57-58-(m. 61-62) consecutive slur 4, separate 2 Mm. 59-60-slur 7, slur 6, slur 6, slur 6 m. 63 slur 3, slur 3, slur 3, slur 2 m. 64 slur 2, 1, slur 2, 1, slur 7 Mm. 69-72 slur 4, slur 5, slur 4, separate 2, slur 7, slur 3, slur 3, slur 5, slur 4, separate 2, slur 3 slur 4, Movement II: Slur 7 Slur 2 Slur 3 Slur 4 Slur 5 Slur 6 Slur 9 Slur 8 Separate Movement III: Slur 2 Slur 3 2 Consecutive down bows-hooked Slur 6 Slur 4 Consecutive Slur 3 Mm. 97-99 Mm. 101-103 Mm. 105-107
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Mm. 109-111 Mm. 188-193 Mm. 309-311 Mm. 313-315 Mm. 317-319 Mm. 321-323 Mm. 388-395 Mm. 412-427 Mm. 449-450 Mm. 451-452 Slur 7 Separate Slur 5 Separate 1, Slur 5 Mm. 176-182
Articulation Tenuto Staccato Accent Spiccato
Musicality Musical Terms A piacere Energico Dolce Con affetto Con leggerezza Con passion Calmato Con anima Morendo Leggiero con grazia Molto grazioso e affettuoso Pesante Spiccato Marqué Copious amount of Dynamic Levels
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Appendix H
Analytical Table: Concerto in D minor Grace Vamos
The left-hand positions are listed in order of apperance according to the system used
Rick Mooney in his Position Pieces I and Position Pieces Book II.
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Title Cello Concerto In D Minor Publisher Vamos Publications Publication Date 1974 Number of pages (cello)
6 pages
Theoretical Tonal centers Movement I: D minor
Movement II: E minor Movement III: D minor
Key signatures Movement I: 1 flat Movement II: 1 sharp Movement III: 1 flat and 0 flats/sharps
# of movements 3 Meter Duple and Triple
Movement I: Common time Movement II: 9/8 Movement III: 6/8
Tempo Movement I: Maestoso 5=76 (1-19) m. 19-poco rit. Piu mosso (20-38) Cadenza Maestoso & a piacere (39-62) m. 46 rit. m. 47 a tempo m. 62 rit. Tempo I (63-78) Lento (79-82) Movement II: Lento espressivo 5=46 (1-21) Cadenza m. 21-23 ad lib. m. 24-25 cantando m. 26-27 con moto m. 27 rit. Tempo I (28-36) Cantando (37-40) Movement III: Allegro 5=138 (1-85) Gracioso 5=126 (86-149) Cadenza (150-198) m. 158-165 Stretto m. 166-195 a tempo
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m. 196-197 rit. Tempo I (198-257)
Clefs Bass clef majority. Two notes in treble clef (harmonics a’-First Movement-m. 81 and e’-Third Movement- m. 149)
Range Low C to harmonic A (two notes above that- high A (harmonic treble clef and harmonic e in treble clef )
Form Movement I: A (1-19) B (20-38) Cadenza (39-54) Transition (55-62) A’ (63-78) Codetta (79-82) Movement II: A (1-20) Cadenza (21-27) A’ (28-40) Movement III: Intro (1- 17) A (21-60) B (61-85) C (86-149) Cadenza (150-198) A (198-239) Coda (240-257)
Dynamic Range pp-ff Grading Beginner Intermediate Advanced Pedagogical Left-Hand Technique
3-note chords (mvt 1: 39-40, 41-42)-Composer shows how to play the chords eighth grace note before the beat-idea with a pedal note as the bottom, A and then G (is this an easier way to introduce three-note chords?) 3- note arpeggiation (mvt 2: 24-25)-with consecutive shifts and pizz 4-note chords (mvt 1: 48, 52; mvt. 2: 28, 39 mvt 3: 255) Broken Thirds (mvt. 3: 158-163)
Positions
Movement I: First position Upper Third Extended Upper Second
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Fourth position Upper Third Upper Second Extended Upper Third Half Position Lower Second Movement II: Fifth Fourth Lower Third First Half Position Upper Third Upper Second Position Lower Second Position Extended Upper Fourth Position Extended Fourth Position Extended First Movement III: First position Extended First Fourth position Half position Lower Second Upper Third Extended Fourth Lower Third
Thumb Position For harmonics- Two notes in treble clef Movement. I: m. 81 Movement III: m. 149
Left-Hand Typical Finger Patterns
Descending/Ascending Broken Sixths Arpeggiation of Diminished 7th chord- C# then D (mvt. One 55-58) Scalar passages in D minor, Sequences of material-with finger replacement shifts-mm. 20-28 Ascending scale-like virtuosic passages in cadenza 3-note chords with pedal A then G (does this make it easier?)
Right-Hand
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Technique Bowing Movement I:
Consecutive Down bows Three consecutive up bows-staccato (hooked) Slur 2, separate 2 Slur 3 Slur 6 Consecutive slur 2 Slur 4 Movement II: Slur 8 Slur 12 Slur 14 Movement III: Slur 2 Slur 5 Slur 3 Three consecutive up bows-staccato (hooked) 1 separate-then slur 5
Articulation Tenuto Accent Staccato Spiccato
Musicality Musical Terms/Directions: Cantando A piacere Copious amount of Tempo Changes Ad lib. Stretto Dolce
Extended Techniques
Movement II: M. 40- Natural Harmonics- Use of pizzicato— Movement II: Mm. 24-25 strum 3 note chords (written with 2 sixteenth note grace notes with shifting): Lower Third Position-C Upper Second Position-B Fourth Position-D First Position-A First Position-G Mm. 26-27
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*thumb position/con moto M. 37 *thumb position-cantando with vibrato
Rhythmic Complexities
Movement I: Mm. 43-47 Quarter notes, then eighths, sextuplets, triplets, sixteenth notes Movement II: 9/8-triple meter Mm. 9, 14-16, 26-27, & 35- Duple in triple meter Movement III: Mm. 106-108, 134-144-Duple in triple meter
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Appendix I
Analytical Table: Cello Concerto in E minor Grace Vamos
The left-hand positions are listed in order of apperance according to the system used
Rick Mooney in his Position Pieces I and Position Pieces Book II.
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Title Cello Concerto in E minor with Piano accompaniment Publisher Vamos Publications Published Date 1983 Number of pages (cello part)
6 pages
Theoretical Tonal centers Movement I: E minor
Movement II: G major - E major - G major Movement III: E minor
Key Signatures Movement I: 1 sharp Movement II: 1 sharp-4 sharp-1 sharp Movement III: 1 sharp
# of movements 3 Meter Movement I: Common Time
Movement II: 6/8 Movement III: Common Time
Tempo Movement I: Moderato (1-45) m. 16 poco rit. m. 17 a tempo m. 24 rit. m. 25 a tempo m. 39 rit. m. 40 a tempo Cadenza A piacere (46-61) m. 50 rit. m. 52 a tempo m. 56 rit. m. 58 a tempo Tempo I (70-88) m. 77 rit. m. 78 a tempo m. 83 rit. m. 85 a tempo m. 87 rit. Movement II: Andante espress. (1-24) m. 12 rit. m. 13 a tempo Piu Mosso (25-54) m. 47 Animato
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m. 53 rit. Tempo I (55-86) m. 64 rit m. 65 a tempo m. 78 m. 79 a tempo Movement III: Allegro con spirito (1-42) m. 14 rit. m. 15 a tempo m. 41 poco rit. Andante (43-67) m. 59 rit. m. 61 a tempo Cadenza Lento/a piacere (68-91) m. 72 a tempo m. 75 rit. molto m. 77 rit. m. 78 a tempo m. 79 rit. m. 80 a tempo m. 82 “rapido” m. 83 allarg. m. 84 a tempo m. 91 rit. Tempo I (92-115) m. 105 lento m. 106 a tempo Presto (116-123) m. 119 rit. m. 120 Piu Lento m. 121 rit. m. 122 Presto
Clefs Bass Clef: other than one note in treble clef (E5) NO TENOR Range Low C (C2) to high B above harmonic A (one note above that
harmonic e in treble clef)
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Form Movement I: Mm. 1-8 Introduction Mm. 9-24 A Mm. 25-45 B Mm. 46-61 Cadenza Mm. 62-69 Transition Mm. 70-88 A’ Movement II: 1-24 A 25-47 B 47-54 Transition 55-86 A’ Movement III: 1-6 Introduction 7-26 A 27-42 B 43-60 C 61-67 Transition 68-92 Cadenza 92-115 Return of Introduction & A’ 116-123 Codetta
Dynamic Range pp-ff Grading Beginner Intermediate Advanced Left-Hand Technique
Movement I: Arpeggios –Opening in e minor Dmm7 chord (m. 21) A minor (m. 22) Scalar-like passages: A-E ascending, E-A descending then sequenced (m. 25, 28) B-F ascending, F-B descending (m. 26, 30) Scale passages: A-harmonic A (natural notes with C#) (m. 32) B-harmonic A (natural notes) (m. 34) A-harmonic A melodic minor (ascending) (m. 36) Chords Arpeggiated (Ondeggiando) m. 46-47-Upper Second Position E major chord and F major chord m. 52-53 Ab major chord and A major chord m. 46 and m. 48-arepeggiated E major chord m. 54 and m. 560-arpeggiated Ab major chord
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E minor chord-arpeggio (m. 85-87) Movement III: Cossman-like Finger exercise-: m. 15 (1, 2, 4, 2)-Upper Second Position m. 16 (1, x2, 4, 2)-Extended Lower Third Position m. 17 (1, 2, 4, 2)-Half Position m. 22 (1, 2, 4, 2) –Upper Third Position m. 19, m. 20, m. 22-Cossman-like finger exercise expanded with scalar passage m. 45, m. 53, m. 76, m. 78, m. 86-87 Broken 6ths m. 81 Double Stops –interval of a 6th m. 82 Descending virtuosic scalar passage in C major in cadenza m. 88-89 Broken Thirds m. 122. 4-note chord (E minor)
Positions Movement I: 1st Position 4th Position Upper Third Position Upper Second Position Extended First Position Extended Fourth Position Half Position Lower Third Fifth Position Movement II: 1st Position Upper Second Position 4th Position 5th Position (Harmonic A and Harmonic D) Upper Third Position Movement III: 1st Position 4th Position Extended First Position Upper Second Position Extended Upper Third Position Half Position
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Upper Third Position Extended Second Position Extended Fourth Position Lower Second Position m. 55 (look up position)
Thumb Position Harmonic E (E5) Right-Hand Technique
Bowing Movement I: m. 46-47, m. 52-53 Ondeggiando (slurred bowing-concept of oscillating between strings) slur 2, separate 2 hooked two slur 6 slur 8 slur 9 slur 6 slur 4 slur 3 consecutive slur 2 Movement II: hooked 2 (with tenuto) slur 3 slur 2 slur 4 slur 5 separate 2, slur 3 slur 3, separate 2 consecutive slur 4 Movement III: Consecutive hooked 2 up bows slur 2 slur 4 slur 8 slur 7 slur 2, separate 2 slur 5 slur 3 consecutive slur 4 consecutive slur 2
Articulation Tenuto
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Staccato Accent
Musicality Music Terms/Directions Cantabile A piacere Cantando Dolce Rapido Copious amount of Tempo Changes and Dynamic Levels
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