Cadenzas written for the Brahms violin concerto: Interpretation and technical commentary
Item
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Title
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Cadenzas written for the Brahms violin concerto: Interpretation and technical commentary
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Identifier
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d_2009_2013:66848d7df833:10996
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identifier
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10175
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Creator
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Du, Ming-Shi,
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Contributor
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Ruth DeFord | Ora Frishberg Saloman
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Date
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2009
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music | Brahms | Cadenza
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Abstract
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Brahms' decision to leave the creation of the cadenza in his violin concerto to the soloist sets his work apart from most concertos of his time. Although the Joachim and Kreisler cadenzas are still the most commonly used for the Brahms concerto, a large number of cadenzas were written by virtuoso violinists and eminent musicians during the late nineteenth and early twentieth centuries; most of these remain obscure and unexplored by performers and scholars alike.;In this project, I analyze six cadenzas written by violin virtuosos and composers and examine stylistic and aesthetic features of each writer's approach. Although violinists who wrote cadenzas for the Brahms concerto were also composers to some extent, the underlying plan and characteristics, especially individual markings for bowings and fingerings, reveal fundamental differences from those created by musicians who were primarily composers. These kinds of markings are crucial to the musical interpretation and exploration of technical possibilities in executing the cadenzas, especially in making more instrumentally feasible and natural passages created by non-violinists. Each analysis contains my technical suggestions for bowings and fingerings, and commentary on important performance practice points.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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D.M.A.
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Program
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Music
