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Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation
Thesis (DMus)--University of Pretoria, 2014.
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| Format: | Thesis |
| Language: | English |
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University of Pretoria
2014
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| _version_ | 1867613551367028736 |
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| access_status_str | Open Access |
| author2 | Van Niekerk, Caroline |
| author_browse | Van Niekerk, Caroline |
| author_facet | Van Niekerk, Caroline |
| collection | Thesis |
| dc_rights_str_mv | © 2014 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
| description | Thesis (DMus)--University of Pretoria, 2014. |
| format | Thesis |
| id | oai:repository.up.ac.za:2263/40241 |
| institution | University of Pretoria (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:37:56.779Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UPSpace — University of Pretoria Institutional Repository |
| publishDate | 2014 |
| publishDateRange | 2014 |
| publishDateSort | 2014 |
| publisher | University of Pretoria |
| publisherStr | University of Pretoria |
| record_format | dspace |
| source_str | UPSpace — University of Pretoria Institutional Repository |
| spelling | oai:repository.up.ac.za:2263/40241 Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation Van Niekerk, Caroline gvanderwalt@yahoo.com Heneghan, Frank Oliver, Gertruida Johanna Aesthetics Brahms Idiomaticism Interpretation Music analysis Pianism Piano quintet Piano technique Timbre UCTD Thesis (DMus)--University of Pretoria, 2014. Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in opus 34, 35, 56b and the 51 exercises. As an interface to these Brahmsian techniques, the writer selects a mixture of generic technical aspects from a wide scope of other musical minds. There is a definite inter-reaction between all these generic aspects and those of Brahms. The background and history of opus 34 is explained, plus a short section about Brahms aesthetics/ambiguity, and some philosophical opinions about the dimension of emotions and feelings in interpretation. However, the writer explains that this dimension is outside the scope of this thesis. A summary of schools of thought on technique and theories of interpretation is given to establish the links between them. Using available literature on quintets, ensembles, pianism, idiomaticism and timbre, the piano quintet specifically was explored for the uniqueness of its features. Brahms’s individualistic approach to pianism, as exemplified by his chamber music and his unique contributions to virtuoso technical routines, is examined against the background of sonorities of the piano and underpinned by appropriate technical skills. Against a template of pianistic criteria, appropriate examples, rich in context, are analysed both technically (objectively) and interpretatively (subjectively) to educe outcomes that establish that the two approaches have a holistic relationship and are ultimately inseparable and interdependent. The score examples show how technical difficulties escalate in combinations of complex movements in the “marriage” of technique and interpretation, and how interpretation relies primarily and fundamentally on the craft of technique, which is also an art in itself. gm2014 Music unrestricted 2014-06-17T13:05:16Z 2014-06-17T13:05:16Z 2014-04-16 2014 Thesis Oliver, GJ 2013, Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation, DMus thesis, University of Pretoria, Pretoria, viewed yymmdd <http://hdl.handle.net/2263/40241> D14/4/130/gm http://hdl.handle.net/2263/40241 en © 2014 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. application/pdf University of Pretoria |
| spellingShingle | Aesthetics Brahms Idiomaticism Interpretation Music analysis Pianism Piano quintet Piano technique Timbre UCTD Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title | Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title_full | Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title_fullStr | Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title_full_unstemmed | Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title_short | Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation |
| title_sort | brahms s sonata quintet opus 34 pianism as facilitating concept in establishing the link between technique and interpretation |
| topic | Aesthetics Brahms Idiomaticism Interpretation Music analysis Pianism Piano quintet Piano technique Timbre UCTD |
| url | http://hdl.handle.net/2263/40241 |