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oai:digital.library.adelaide.edu.au:2440/1181222019-03-13T01:38:33Zcom_2440_14759col_2440_14760

Bodman Rae, J. Charles Heike, Alison Maree Elder Conservatorium of Music 2018 http://hdl.handle.net/2440/118122 Track Listing for CD 1: Track 1 Vivace ma non troppo -- Track 2 Adagio - Piu andante - Adagio -- Track 3 Allegro mo Ito moderato - Piu moderato -- Track 4 Allegro amabile -- Track 5 Andante tranquillo - Vivace - Andante -- Track 6 Allegretto grazioso ( quasi Andante) -- Track 7 Allegro -- Track 8 Adagio -- Track 9 Un poco presto e con sentimento -- Track 10 Presto agitato. Track Listing for CD 2: Track 1 Allegro -- Track 2 Allegro appassionato - Sostenuto ed espressivo -- Track 3 Andante un poco Adagio -- Track 4 Allegretto grazioso -- Track 5 Vivace -- Track 6 Allegro amabile -- Track 7 Allegro appassionato - Sostenuto - Tempo I -- Track 8 Andante con moto - Allegro - Piu tranquillo. Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano This submission for the degree of Master of Philosophy in musical performance at the Elder Conservatorium of Music, University of Adelaide, consists ofa portfolio of two CDs containing recorded performances of the complete Sonatas for Violin and Piano of Johannes Brahms (1833-1897) accompanied by an explanatory exegesis. These works are some of the most performed and recorded in the repertoire, however modem performance practice has been influenced by over a century of changing styles and tastes in violin playing. This project is an investigation into how a modem-day performance can reflect Brahms' original intentions for these works, drawing from the recently published Barenreiter Edition (2015/16) by Clive Brown and Neal Peres Da Costa. Nineteenth-century expressive devices used by Brahms and his circle have been identified including tone and bowing, vibrato, portamento, rhythmic flexibility and tempo modification and these techniques have been attempted to be integrated into the recorded performances. Discussion outlining Brahms' musical notation and its performance implications has been included, as well as a commentary describing the challenges of assimilating these devices and the resulting effectiveness in performance. The recorded performances contain the three Sonatas for Violin and Piano, the Sonata Movement in C minor from the F.A.E. Sonata, and the two neglected Violin Sonatas op. 120 originally for clarinet/viola, rewritten by Brahms, which are seldom performed today. Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2018 en Johannes Brahms sonatas for violin Brahms violin sonatas violin performance Joachim violin expression expressivity Performing Brahms: Rediscovering expressive devices in the sonatas for violin and piano Thesis This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at: http://www.adelaide.edu.au/legalsopen.access