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Beethoven and Schubert: Selected Lat...

Carmichael, Sean Anthony.

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Beethoven and Schubert: Selected Late-period Piano Sonatas.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Beethoven and Schubert: Selected Late-period Piano Sonatas./
作者:	Carmichael, Sean Anthony.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	44 p.
附註:	Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.
Contained By:	Dissertation Abstracts International79-11A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10744723
ISBN:	9780438144255

Beethoven and Schubert: Selected Late-period Piano Sonatas.
Carmichael, Sean Anthony.

Beethoven and Schubert: Selected Late-period Piano Sonatas. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 44 p.

Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.

Thesis (D.M.A.)--University of Maryland, College Park, 2017.

The piano sonata genre sits at the apex of formal experimentation and expression within the solo piano repertoire. Since its introduction, the term 'sonata' has represented short instrumental pieces in binary form, pieces containing fantasy elements and multi- movement dance suites in the same key, to name a few. The modern definition of a sonata ultimately emerged as a work containing three or four movements: a sonata- allegro movement, a scherzo or minuet and trio, a slow cantabile movement, and an upbeat [typically] rondo finale. Following Beethoven's piano sonatas, numerous composers have contributed to the genre in novel ways; however, none have produced an output of any comparable magnitude. This may be due in part to a sentiment felt by his contemporaries and expressed by Schubert, who commented, "Secretly, in my heart of hearts, I hope to make something of myself, but who can do anything after Beethoven?" While Beethoven and Schubert's nearly coterminous deaths marked the end of the Viennese classical sonata, the passing of Beethoven in 1827 undoubtedly alleviated some pressure for Schubert as an instrumental composer. Composing a total of twenty-two piano sonatas (albeit some remaining incomplete), it was in this year that Schubert composed his final three, D. 958, 959 and 960.

ISBN: 9780438144255Subjects--Topical Terms:

516178
Music.

Beethoven and Schubert: Selected Late-period Piano Sonatas.
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520 $a The piano sonata genre sits at the apex of formal experimentation and expression within the solo piano repertoire. Since its introduction, the term 'sonata' has represented short instrumental pieces in binary form, pieces containing fantasy elements and multi- movement dance suites in the same key, to name a few. The modern definition of a sonata ultimately emerged as a work containing three or four movements: a sonata- allegro movement, a scherzo or minuet and trio, a slow cantabile movement, and an upbeat [typically] rondo finale. Following Beethoven's piano sonatas, numerous composers have contributed to the genre in novel ways; however, none have produced an output of any comparable magnitude. This may be due in part to a sentiment felt by his contemporaries and expressed by Schubert, who commented, "Secretly, in my heart of hearts, I hope to make something of myself, but who can do anything after Beethoven?" While Beethoven and Schubert's nearly coterminous deaths marked the end of the Viennese classical sonata, the passing of Beethoven in 1827 undoubtedly alleviated some pressure for Schubert as an instrumental composer. Composing a total of twenty-two piano sonatas (albeit some remaining incomplete), it was in this year that Schubert composed his final three, D. 958, 959 and 960.
520 $a In this dissertation, I will examine four late-period sonatas of Beethoven and Schubert, exploring their influences and the characteristics that position them between the classical and romantic eras. The sonatas examined are Beethoven's Op. 101 in A major and Op. 110 in A-flat major and Schubert's D. 959 in A major and D. 960 in B-flat major. The dissertation was recorded by Antonino d'Urzo in the Dekelboum Concert Hall at the School of Music, University of Maryland and edited by Sean Carmichael. These recordings can be found in the Digital Repository at the University of Maryland (DRUM).
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