Full Text Available
Note: Clicking the button above will open the full text document at the original institutional repository in a new window.
The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings
This dissertation is concerned with a comparative study of selected recordings of Brahms's sonatas for piano and violin and for piano and cello. The introduction establishes guidelines which are essential when interpreting Brahms's works. It highlights the fact that Brahms was a neoclassicist and po...
Saved in:
| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Thesis |
| Language: | English |
| Published: |
College of Music
2024
|
| Subjects: | |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1867613231579660288 |
|---|---|
| access_status_str | Open Access |
| author | Fourie, Hanlie |
| author2 | Professor Crowson, |
| author_browse | Fourie, Hanlie Professor Crowson, |
| author_facet | Professor Crowson, Fourie, Hanlie |
| author_sort | Fourie, Hanlie |
| collection | Thesis |
| description | This dissertation is concerned with a comparative study of selected recordings of Brahms's sonatas for piano and violin and for piano and cello. The introduction establishes guidelines which are essential when interpreting Brahms's works. It highlights the fact that Brahms was a neoclassicist and points out his typical "fingerprints" which occur throughout the works. In chapters 1 - 5 selected recordings of the three piano and violin and the two piano and cello sonatas are discussed. An Urtext is always consulted. Each of the chapters starts with a brief historical background for a specific sonata. This is followed by discussion and comparison of the tempi chosen by the performers and their faithfulness to articulation, dynamic and pedalling indications. Where relevant, balance between the instruments, phrasing, rhythmic inaccuracies and the execution of mood changes are also discussed. Each of these chapters ends with a brief summary. The conclusion is drawn after chapter 5 that surprisingly few of these internationally acclaimed performers obseNed and executed Brahms's indications accurately and/or consistently. Thus, although these performances are generally of a high standard, the end result is often far removed from what Brahms seems to have intended. Possible reasons are stated for why Brahms's indications seem to have been "ignored". |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/40083 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:32:51.499Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2024 |
| publishDateRange | 2024 |
| publishDateSort | 2024 |
| publisher | College of Music |
| publisherStr | College of Music |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/40083 The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings Fourie, Hanlie Professor Crowson, Music This dissertation is concerned with a comparative study of selected recordings of Brahms's sonatas for piano and violin and for piano and cello. The introduction establishes guidelines which are essential when interpreting Brahms's works. It highlights the fact that Brahms was a neoclassicist and points out his typical "fingerprints" which occur throughout the works. In chapters 1 - 5 selected recordings of the three piano and violin and the two piano and cello sonatas are discussed. An Urtext is always consulted. Each of the chapters starts with a brief historical background for a specific sonata. This is followed by discussion and comparison of the tempi chosen by the performers and their faithfulness to articulation, dynamic and pedalling indications. Where relevant, balance between the instruments, phrasing, rhythmic inaccuracies and the execution of mood changes are also discussed. Each of these chapters ends with a brief summary. The conclusion is drawn after chapter 5 that surprisingly few of these internationally acclaimed performers obseNed and executed Brahms's indications accurately and/or consistently. Thus, although these performances are generally of a high standard, the end result is often far removed from what Brahms seems to have intended. Possible reasons are stated for why Brahms's indications seem to have been "ignored". 2024-06-28T13:24:24Z 2024-06-28T13:24:24Z 1994 2024-06-21T12:36:57Z Thesis / Dissertation Masters Masters http://hdl.handle.net/11427/40083 eng application/pdf College of Music Faculty of Humanities |
| spellingShingle | Music Fourie, Hanlie The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| thesis_degree_str | Master's |
| title | The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| title_full | The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| title_fullStr | The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| title_full_unstemmed | The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| title_short | The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings |
| title_sort | piano and violin and piano and cello sonatas of brahms a study of selected recordings |
| topic | Music |
| url | http://hdl.handle.net/11427/40083 |
| work_keys_str_mv | AT fouriehanlie thepianoandviolinandpianoandcellosonatasofbrahmsastudyofselectedrecordings AT fouriehanlie pianoandviolinandpianoandcellosonatasofbrahmsastudyofselectedrecordings |