THE EARLY, MIDDLE, AND LATE STYLES OF WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN IN THEIR SONATAS FOR PIANO AND VIOLIN

dc.contributor.advisorStern, Jamesen_US
dc.contributor.authorKim, Elizabeth E.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.accessioned2015-06-26T05:41:00Z
dc.date.available2015-06-26T05:41:00Z
dc.date.issued2015en_US
dc.description.abstractWolfgang Amadeus Mozart's (1756-1791) and Ludwig van Beethoven's (1770-1827) personal backgrounds influenced their compositional styles in different stages of their lives. Their sonatas for piano and violin show the evolution of their styles in early, middle, and late periods. Mozart's early period (1761-1773) keyboard sonatas with violin accompaniment, such as K. 9, show experimentations of a child prodigy and little equality between the piano and violin. In contrast to these early sonatas, his middle period (1774-1778) piano-violin sonatas, including K. 301 and K. 305, display the equal relationship between the two instruments found in Joseph Shuster's violin-harpsichord duets, which Mozart studied. The K. 378 sonata from Mozart's late period (1779-1791) shows a significant advancement in the flowing, virtuosic treatment of the piano and violin parts. Mozart's K. 454, composed for the virtuoso violinist, has a much more concertante style. Beethoven's Op. 12 sonatas from his early period (1770-1802) show his craftsmanship of the genre and unique personal voice. His Op. 23 is a transitional work that depicts his strong personality through explosive dynamics and melodies. The Op. 30, No. 2 sonata illustrates Beethoven's heroic middle period (1803-1814) where he triumphed over adversity. Beethoven's Op. 96, a transitional period work moving toward his late period (1815-1827), shows elements of his late style. The thoughtful mood reflects his personal relationships. The different periods in their piano-violin sonatas have different meanings for Mozart and Beethoven. Yet both composers' life events influenced the evolution of their piano-violin sonatas.en_US
dc.identifierhttps://doi.org/10.13016/M2XW68
dc.identifier.urihttp://hdl.handle.net/1903/16643
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.titleTHE EARLY, MIDDLE, AND LATE STYLES OF WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN IN THEIR SONATAS FOR PIANO AND VIOLINen_US
dc.typeDissertationen_US

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