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Violin Performance Influences of Fritz Kreisler.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Violin Performance Influences of Fritz Kreisler./
Author:	White, Walter Daniel.
Description:	1 online resource (76 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Contained By:	Dissertations Abstracts International84-12A.
Subject:	Performing arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30244245click for full text (PQDT)
ISBN:	9798379683863

Violin Performance Influences of Fritz Kreisler.
White, Walter Daniel.

Violin Performance Influences of Fritz Kreisler. - 1 online resource (76 pages)

Source: Dissertations Abstracts International, Volume: 84-12, Section: A.

Thesis (D.M.A.)--University of Nevada, Las Vegas, 2022.

Includes bibliographical references

This study explores elements contained or implied in the question of what can the modern performer of violin literature learn and apply from the life, creative output, and career of Fritz Kreisler, a successful performer and composer of a past era. It is now the twenty-first century, and Fritz Kreisler, who lived from the final quarter of the nineteenth century beyond the first half of the twentieth century continues as a name widely recognized and associated with excellence in violin performance. His name is legendary among violinists, and he left a lasting legacy in the compositions that he created for us to gain professional enlightenment, inspiration, and motivation.Kreisler's compositions have been classified in the categories of Original Works, Works in the Style of..., Transcriptions, and Cadenzas. Interestingly, the "in the style of..." works are his own original compositions, but he cited them as works of 17th and 18th century composers. He claimed to have found this treasure of music and reworked it as new performance material for himself. Since he often used these for recitals and other performances, he believed that there would be greater credibility if fewer pieces bearing his name as composer were programmed for the same performance. By crediting certain works as discoveries, he was able to program a greater number of his own compositions without incurring a criticism of vanity along with a pretentious intellectual impression by the audience that the works were of lesser quality sincethey were the creations of the performer. The deception, known by only a few of his closest friends, lasted for about three decades until he officially made it public in 1935 resulting in mixed reactions.The performance style associated with Kreisler is one of emotional import born of his tendency to use vibrato on every note, inspired by the style of Wieniawski, a successful predecessor of his who studied with the same teacher as he at the Paris Conservatory. Other elements include the use of great showiness created by dramatic violin chords, flashy bowing techniques, and frequent cadenza-like passages in even his short solo works.Melodies accompanied by a double stop of fingered tremolo, sequences that highlight pointillistic melodies, fanfare passages created by use of violin triple stops, and endings garnished with a harmonic or delicate pizzicato are mainstay features of Kreisler's writing for the violin. All of his violin compositions contain passages with one or more of these features, and the longer works have extended passages dedicated to the use of certain ones of these characteristic techniques. Prospective performers could conceivably use passages of Kreisler's work in the same way in which they use method books of Kreutzer, Rode or Dont. In all these, one finds that the compositions call for musical skills to be executed that look impossible at first encounter, but with study can be acquired for routine incorporation as usable skills.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379683863Subjects--Topical Terms:

523119
Performing arts.
Subjects--Index Terms:

Violin cadenzasIndex Terms--Genre/Form:

542853
Electronic books.

Violin Performance Influences of Fritz Kreisler.
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500 $a Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
500 $a Advisor: Aubrun, Ambroise.
502 $a Thesis (D.M.A.)--University of Nevada, Las Vegas, 2022.
504 $a Includes bibliographical references
520 $a This study explores elements contained or implied in the question of what can the modern performer of violin literature learn and apply from the life, creative output, and career of Fritz Kreisler, a successful performer and composer of a past era. It is now the twenty-first century, and Fritz Kreisler, who lived from the final quarter of the nineteenth century beyond the first half of the twentieth century continues as a name widely recognized and associated with excellence in violin performance. His name is legendary among violinists, and he left a lasting legacy in the compositions that he created for us to gain professional enlightenment, inspiration, and motivation.Kreisler's compositions have been classified in the categories of Original Works, Works in the Style of..., Transcriptions, and Cadenzas. Interestingly, the "in the style of..." works are his own original compositions, but he cited them as works of 17th and 18th century composers. He claimed to have found this treasure of music and reworked it as new performance material for himself. Since he often used these for recitals and other performances, he believed that there would be greater credibility if fewer pieces bearing his name as composer were programmed for the same performance. By crediting certain works as discoveries, he was able to program a greater number of his own compositions without incurring a criticism of vanity along with a pretentious intellectual impression by the audience that the works were of lesser quality sincethey were the creations of the performer. The deception, known by only a few of his closest friends, lasted for about three decades until he officially made it public in 1935 resulting in mixed reactions.The performance style associated with Kreisler is one of emotional import born of his tendency to use vibrato on every note, inspired by the style of Wieniawski, a successful predecessor of his who studied with the same teacher as he at the Paris Conservatory. Other elements include the use of great showiness created by dramatic violin chords, flashy bowing techniques, and frequent cadenza-like passages in even his short solo works.Melodies accompanied by a double stop of fingered tremolo, sequences that highlight pointillistic melodies, fanfare passages created by use of violin triple stops, and endings garnished with a harmonic or delicate pizzicato are mainstay features of Kreisler's writing for the violin. All of his violin compositions contain passages with one or more of these features, and the longer works have extended passages dedicated to the use of certain ones of these characteristic techniques. Prospective performers could conceivably use passages of Kreisler's work in the same way in which they use method books of Kreutzer, Rode or Dont. In all these, one finds that the compositions call for musical skills to be executed that look impossible at first encounter, but with study can be acquired for routine incorporation as usable skills.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Performing arts. $3 523119
650 4 $a Pedagogy. $3 2122828
650 4 $a Performing arts education. $3 3173434
653 $a Violin cadenzas
653 $a Violin pedagogy
653 $a Violin studies
653 $a Violin study creation
653 $a Violin technique
653 $a Violin virtuoso
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0641
690 $a 0456
690 $a 0457
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a University of Nevada, Las Vegas. $b Music. $3 1674328
773 0 $t Dissertations Abstracts International $g 84-12A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30244245 $z click for full text (PQDT)