Beethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositions

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dc.contributor.advisorStern, Jamesen_US
dc.contributor.authorChimchirian, Jamie M.en_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2016-09-03T05:36:34Z
dc.date.available2016-09-03T05:36:34Z
dc.date.issued2016en_US
dc.description.abstractOver the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. The first recital was performed in Ulrich Recital Hall; the second and third recitals were performed in Gildenhorn Recital Hall at the University of Maryland. All three performances were collaborations with pianist, Hsiang-Ling Hsiao. A Recording of the first program can be found in the Digital Repository at the University of Maryland (DRUM). Recordings of the second and third recitals can be accessed at the University of Maryland Hornbake Library.en_US
dc.identifierhttps://doi.org/10.13016/M2850V
dc.identifier.urihttp://hdl.handle.net/1903/18557
dc.language.isoenen_US
dc.rightsNOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledBeethovenen_US
dc.subject.pquncontrolledFranz Clementen_US
dc.subject.pquncontrolledKreutzeren_US
dc.subject.pquncontrolledPierre Rodeen_US
dc.subject.pquncontrolledviolinen_US
dc.subject.pquncontrolledViottien_US
dc.titleBeethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositionsen_US
dc.typeDissertationen_US

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