Exploring gendered cello performance through four Romantic compositions by female composers

Abstract

In this practice-led research study, I studied four Romantic sonatas for cello and piano by female composers - Henriëtte Bosmans (1895-1952), Ethel Smyth (1858-1944), Luise Adolpha le Beau (1850-1927) and Dora Pejačević (1885-1923). While studying these compositions, I explored how the preparation and performances of these works contribute to formulating a theory on the gendered performance of gendered compositional elements. First, gendered compositional elements were identified using existing literature. Thereafter, during my solo practise sessions, I explored the cello techniques that could influence gendered performance of these gendered compositional elements. Second, practise sessions with my collaborative pianist provided opportunities for further discussions and exploring musical parameters that could influence gendered performance. Finally, my reflections on the public performances of the sonatas further added to the analysis process of this research study. My exploration led to a summary of the use and purpose of solo cello techniques in gendered performance, which included vibrato, position shifting, fingering, bow control for articulation, bow control for dynamics and timbre, movement and breathing as well as a summary of adjusting tempo and balance to achieve gendered characteristics. The abstractions of the summaries of the documented findings lay the path for building a theory on gendered performance as an alternative interpretative possibility for compositions for the cello not only for these selected sonatas, but for compositions for the cello outside the historical context in which the works in this study is situated.