Standing Tall with the TekStand™, A Concerto Odyssey on ESF. Feldman, E. Master's thesis, Tufts University, 2022. ![Standing Tall with the TekStand™, A Concerto Odyssey on ESF [link]](https://bibbase.org/img/filetypes/link.svg "link")
URL abstract bibtex As the cello evolved as an instrument, the invention of the cello endpin played an important role as cello soloists looked for ways to have more sound projection while playing either with string quartet, in piano and cello sonatas, or soloing with orchestra. Cellist/composers were the greatest exponents of their instrument and inspired prominent contemporary composers to write solo works for cellists. At the time of the invention of the endpin in the late nineteenth century, not all cellist soloists adopted it, which was due to a loss of comfort and a certain loss of facility while playing. But as a newer generation of cellists came to the fore, the endpin became standard equipment and cellists adapted their technique to its use. To this present era, cellists perform seated, which makes the player look more diminutive on stage than a standing player or vocalist. Seated cellists project much less in sound as sitting greatly limits the amount of motion and free weight used to play the instrument. This adversely affects stamina and particularly limits the ability to play for long periods of time in the upper positions of the cello. Using the TekStand™ as the performance vehicle for writing my concerto made it possible for me to write extended thematic material in the highest range of the cello. It also made it more possible to utilize large double stops like tenths in rapid succession without the usual fatigue of the seated position. This newfound superior projection of the cello allowed me to write a richer orchestral accompaniment with less chance of being overpowered by the orchestra. In my compositional process, I used mostly thematic and harmonic material based on the initials of my name, ESF, which translated to the notes, E, B and F#; these notes were carefully chosen over other variants to yield expandable motifs and chord structures, interchangeability, and had the fecundity needed to sustain the compositional process throughout the whole piece
@mastersthesis{feldman_standing_2022,
title = {Standing {Tall} with the {TekStand}™, {A} {Concerto} {Odyssey} on {ESF}},
url = {https://tufts.primo.exlibrisgroup.com/permalink/01TUN_INST/1fml38t/cdi_proquest_journals_2672404537},
abstract = {As the cello evolved as an instrument, the invention of the cello endpin played an important role as cello soloists looked for ways to have more sound projection while playing either with string quartet, in piano and cello sonatas, or soloing with orchestra. Cellist/composers were the greatest exponents of their instrument and inspired prominent contemporary composers to write solo works for cellists. At the time of the invention of the endpin in the late nineteenth century, not all cellist soloists adopted it, which was due to a loss of comfort and a certain loss of facility while playing. But as a newer generation of cellists came to the fore, the endpin became standard equipment and cellists adapted their technique to its use. To this present era, cellists perform seated, which makes the player look more diminutive on stage than a standing player or vocalist. Seated cellists project much less in sound as sitting greatly limits the amount of motion and free weight used to play the instrument. This adversely affects stamina and particularly limits the ability to play for long periods of time in the upper positions of the cello. Using the TekStand™ as the performance vehicle for writing my concerto made it possible for me to write extended thematic material in the highest range of the cello. It also made it more possible to utilize large double stops like tenths in rapid succession without the usual fatigue of the seated position. This newfound superior projection of the cello allowed me to write a richer orchestral accompaniment with less chance of being overpowered by the orchestra. In my compositional process, I used mostly thematic and harmonic material based on the initials of my name, ESF, which translated to the notes, E, B and F\#; these notes were carefully chosen over other variants to yield expandable motifs and chord structures, interchangeability, and had the fecundity needed to sustain the compositional process throughout the whole piece},
school = {Tufts University},
author = {Feldman, Emmanuel},
year = {2022},
keywords = {Cello–Methods, Concertos (Cello)},
}
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