The piano and violoncello sonatas of Ludwig Van Beethoven

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dc.contributor.advisorCrowson, Lamaren_ZA
dc.contributor.authorDaniel, Ryan Jamesen_ZA
dc.date.accessioned2014-12-28T14:58:11Z
dc.date.available2014-12-28T14:58:11Z
dc.date.issued1998en_ZA
dc.description.abstractLudwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. Drabkin (1991a, n.p.) considers that the early sonatas "have received far less attention than they deserve", a deficiency which Lockwood attributes, in the case of the cello sonatas in particular, to the portrayal of Beethoven's early compositions as "forerunners of later greatness [rather] than as significant products of their own time and circumstances" (1986, 17). Given the enormity of the composer's entire works, and the stature of his symphonies, concertos, piano sonatas, choral works and string quartets, it is perhaps not surprising that relatively little attention has been paid to the cello sonatas. Yet, according to Stevens, these works "are so well embedded in the repertory that they claim immediate discussion" (1957, 263). Musicologists such as Fortune consider the opus 5 sonatas to be "among the finest of Beethoven's early works" (1973, 210). In addition, the cello sonatas fall into the category of chamber music for piano and strings, a body of works which Marston feels contains "extraordinary stylistic development" (1991b, 228). Chapter one provides a background to the development of the cello, the origin's of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. Each of chapters two to six contains a study of one of the five sonatas, looking specifically at two areas: the combination of the piano and the cello, and the form and structure. In chapter seven, thematic unity is discussed. The conclusion contains general observations about the sonatas formed during the writing of this dissertation.en_ZA
dc.identifier.apacitationDaniel, R. J. (1998). <i>The piano and violoncello sonatas of Ludwig Van Beethoven</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/10390en_ZA
dc.identifier.chicagocitationDaniel, Ryan James. <i>"The piano and violoncello sonatas of Ludwig Van Beethoven."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 1998. http://hdl.handle.net/11427/10390en_ZA
dc.identifier.citationDaniel, R. 1998. The piano and violoncello sonatas of Ludwig Van Beethoven. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Daniel, Ryan James AB - Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. Drabkin (1991a, n.p.) considers that the early sonatas "have received far less attention than they deserve", a deficiency which Lockwood attributes, in the case of the cello sonatas in particular, to the portrayal of Beethoven's early compositions as "forerunners of later greatness [rather] than as significant products of their own time and circumstances" (1986, 17). Given the enormity of the composer's entire works, and the stature of his symphonies, concertos, piano sonatas, choral works and string quartets, it is perhaps not surprising that relatively little attention has been paid to the cello sonatas. Yet, according to Stevens, these works "are so well embedded in the repertory that they claim immediate discussion" (1957, 263). Musicologists such as Fortune consider the opus 5 sonatas to be "among the finest of Beethoven's early works" (1973, 210). In addition, the cello sonatas fall into the category of chamber music for piano and strings, a body of works which Marston feels contains "extraordinary stylistic development" (1991b, 228). Chapter one provides a background to the development of the cello, the origin's of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. Each of chapters two to six contains a study of one of the five sonatas, looking specifically at two areas: the combination of the piano and the cello, and the form and structure. In chapter seven, thematic unity is discussed. The conclusion contains general observations about the sonatas formed during the writing of this dissertation. DA - 1998 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1998 T1 - The piano and violoncello sonatas of Ludwig Van Beethoven TI - The piano and violoncello sonatas of Ludwig Van Beethoven UR - http://hdl.handle.net/11427/10390 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/10390
dc.identifier.vancouvercitationDaniel RJ. The piano and violoncello sonatas of Ludwig Van Beethoven. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 1998 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/10390en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentCollege of Musicen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.titleThe piano and violoncello sonatas of Ludwig Van Beethovenen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMMusen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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