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The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto
Thesis (MMus)--Stellenbosch University, 2021
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| Format: | Thesis |
| Language: | en_ZA |
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Stellenbosch : Stellenbosch University
2021
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| _version_ | 1867613953132068864 |
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| access_status_str | Open Access |
| author | Theron, Marlise |
| author2 | Nell, Mario |
| author_browse | Nell, Mario Theron, Marlise |
| author_facet | Nell, Mario Theron, Marlise |
| author_sort | Theron, Marlise |
| collection | Thesis |
| dc_rights_str_mv | Stellenbosch University |
| description | Thesis (MMus)--Stellenbosch University, 2021 |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/123845 |
| institution | Stellenbosch University (South Africa) |
| language | en_ZA |
| last_indexed | 2026-06-10T12:44:19.493Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| publisher | Stellenbosch : Stellenbosch University |
| publisherStr | Stellenbosch : Stellenbosch University |
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/123845 The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto Theron, Marlise Nell, Mario Stellenbosch University. Faculty of Arts and Social Sciences. Department of Music. Cadenzas Composition (Music) UCTD Beethoven, Ludwig van, 1770-1827 Thesis (MMus)--Stellenbosch University, 2021 ENGLISH ABSTRACT: Cadenzas are commonly considered to be vehicles of technical excellence, musical insight, stamina and artist personality. They provide opportunities for the soloist to demonstrate their musical merit to the audience, and offer a multitude of possibilities for self-expression and creativity in the performance of a concerto. Even though cadenzas were originally created by the artists who performed them, today they are largely limited to a few ‘concert favourites’ that have been composed by 19th-century musicians. This is a missed opportunity: original cadenza-writing not only immerses the performer more thoroughly in the music, but affords them the opportunity to impress personal and unique ideas on the work. Moreover, prospective cadenza writers have been left to their own devices. Apart from a select few treatises from the 18th century, no definitive and contemporary set of criteria exists to provide pedagogical guidance for cadenza-writing. This study aims to address this gap in cadenza-writing literature by proposing a basic, step-by-step cadenza-writing approach that seeks to render the process more accessible for first-time writers. To support the proposed approach, Ludwig van Beethoven’s (1770-1827) Violin Concerto (Op. 61) is used as case study. A selection of the concerto’s published cadenzas, taken from the contributions of a diverse group of composer-performers, provides valuable cadenza-writing insights that prepare the performer for their own writing process. The approach is further supported by comprehensive literature on the nature of an effective cadenza, a biographical overview of Beethoven and his Violin Concerto, and detailed analyses of both the Violin Concerto and selected cadenzas. Subsequently, the new cadenza-writing approach is constructed from these historical and analytical findings, and supported by the author’s own three cadenzas to Beethoven’s Violin Concerto. The major contribution of this approach lies in helping to unlock the tools of self-expression and consummate artistry in musicians through the medium of cadenza-writing, and in providing contemporary writing guidance for instrumentalists of all types where, previously, resources have been extremely limited and outdated. AFRIKAANSE OPSOMMING: Die cadenza word oor die algemeen as platform vir tegniese uitnemendheid, musikale insig, stamina en kunstenaarspersoonlikheid beskou. Vir soliste bied dit nie net ‘n geleentheid om hul musikale vaardighede aan die gehoor te demonstreer nie, maar ook verskeie moontlikhede vir selfuitdrukking en kreatiwiteit binne die uitvoering van ‘n concerto. Alhoewel die eerste cadenzas oorspronklik deur hul spelers geïmproviseer is, seëvier slegs enkele vooraf-gekomponeerde 'konsertgunstelinge' (meestal uit die 19de eeu) in vandag se konsertsale. Hierin lê heelwat navorsingspotensiaal opgesluit: nie alleen bring oorspronklike cadenza-skryf die kunstenaar tot groter musikale insig nie, maar bied dit ook die geleentheid om hul persoonlike en unieke stempel op die betrokke werk af te druk. Boonop is voornemende cadenza skrywers meestal op hul eie aangewese. Met die uitsondering van enkele teoretiese verhandelinge uit die 18de eeu, bestaan daar nie 'n definitiewe en kontemporêre stel kriteria wat pedagogiese leiding vir cadenza-skryf verskaf nie. Hierdie studie poog om hierdie leemte in die cadenza-skryf literatuur aan te spreek deur 'n basiese, stap-vir-stap cadenza-skryf raamwerk te ontwikkel, en sodoende die proses meer toeganklik vir voornemende cadenza skrywers te maak. Ter ondersteuning van die voorgestelde raamwerk word Ludwig van Beethoven (1770-1827) se Vioolkonsert (Op. 61) as gevallestudie gebruik. 'n Aantal uiteenlopende, gepubliseerde cadenzas vir die concerto bied waardevolle insigte omtrent cadenza-skryf, en berei die musikant voor vir hul eie skryfproses. Die raamwerk word verder ondersteun deur omvattende literatuur oor die aard van 'n effektiewe cadenza, 'n biografiese oorsig van Beethoven en sy Vioolkonsert, en gedetailleerde ontledings van beide die Vioolkonsert en die geselekteerde cadenzas. Vervolgens word ‘n nuwe cadenza-skryf raamwerk ontwikkel na aanleiding van hierdie historiese en analitiese bevindinge, en ondersteun deur die skrywer se eie drie cadenzas vir Beethoven se Vioolkonsert. Die primêre bydrae van hierdie studie lê in die ontsluiting van ware selfuitdrukking en kunstenaarskap in musikante deur die medium van cadenza-skryf, en in die skep van kontemporêre skryfvoorligting vir instrumentaliste van alle soorte waar, voorheen, hulpbronne uiters beperk en verouderd was. Masters 2021-11-27T19:00:54Z 2021-12-22T14:24:44Z 2021-11-27T19:00:54Z 2021-12-22T14:24:44Z 2021-12 Thesis http://hdl.handle.net/10019.1/123845 en_ZA Stellenbosch University ix, 99 pages application/pdf Stellenbosch : Stellenbosch University |
| spellingShingle | Cadenzas Composition (Music) UCTD Beethoven, Ludwig van, 1770-1827 Theron, Marlise The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title | The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title_full | The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title_fullStr | The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title_full_unstemmed | The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title_short | The Solo Cadenza as Vehicle for Self-Expression: A Case Study of Beethoven’s Violin Concerto |
| title_sort | solo cadenza as vehicle for self expression a case study of beethoven s violin concerto |
| topic | Cadenzas Composition (Music) UCTD Beethoven, Ludwig van, 1770-1827 |
| url | http://hdl.handle.net/10019.1/123845 |
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