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This monograph analyzes recordings of three orchestral excerpts for the oboe made between 1910 – 2016 and studies trends in interpretation, showing how performance practice is continually evolving as musical tastes change. The chosen excerpts span several style periods from the early nineteenth century to the twentieth century. The first excerpt, the cadenza from the Allegro con brio movement of the Fifth Symphony by Beethoven, has been under-studied by oboists and musicologists and yet it plays a pivotal role in the first movement of this iconic piece. The second excerpt, the Adagio solo from the second movement of Brahms’s Violin Concerto, has much room for individual interpretation and soloistic freedom on the part of the both the oboe and violin soloists. Finally, recordings of the technically-challenging twentieth-century excerpt, the “Prélude” solo from le tombeau de Couperin by Ravel, show how standards of musical perfection have been raised overtime as a result of the recording industry. Preference is given to recordings from countries with strong traditions in oboe performance, such as the United States, England, Germany, and France. To give a clear picture of performance trends, I study approximately ten recordings per decade. A large-data recording study such as this has never been attempted of orchestral excerpts for the oboe. Findings common to all three excerpts over time include: a decline in small-group, rhetorical phrasing; a decline in national schools; tempos becoming slower in the mid-twentieth century and faster towards the end of the twentieth century; and strongest similarities in playing styles of oboists with a shared pedagogical lineage. / Music Performance

The purpose of the present study is to determine the stylistic characteristics of Beethoven's early piano trios. For the purposes of this study, the term "piano trio" is defined as any work for three instruments in which a piano participates. Of the twelve such trios written by the composer, the first six are dealt with. There is in addition a brief discussion of a trio of uncertain origin. These six piano trios were composed over a span of about ten years (1785-1795), between the ages of fifteen and twenty-five. Although there is a great deal of uncertainty as to the exact time and place of origin of these trios, the first three are generally considered to have been written in Bonn, and the last three in Vienna.

It is the purpose of this thesis to offer some pertinent information in the form of a documentary symposium and analytical study in which historical and technical matters relative to Beethoven's fugal techniques in his choral compositions will be presented. References to specific musical examples in this composer's works will be illustrated by diagrammatic and verbal analyses, and correlated with the pagination of the scores of his complete works as published by Breitkopf and Hartel.

Especialmente a partir do século XX, o interesse em entender como de fato se executava a música do período clássico cresceu consideravelmente. Isso porque, intérpretes e estudiosos em geral, ao se darem conta do distanciamento histórico entre executante e compositor, assim como da multiplicidade dos procedimentos instrumentais que agregaram tradições das mais diversas, sentiram necessidade de uma área de estudo que fosse destinada a essa reflexão. Portanto, este trabalho pretende, em primeiro lugar, realizar um breve estudo de alguns dos principais aspectos que fundamentam a interpretação das obras do período clássico, dentro do campo das práticas interpretativas, tais como: articulação, fraseado, dinâmica, tempo, ritmo, uso do pedal, etc. Serão abordados também conhecimentos sobre Beethoven, seus manuscritos, e as primeiras edições de suas sonatas, assim como informações sobre os instrumentos de época. Em seguida, todos esses critérios serão aplicados à interpretação da Sonata op. 110 de Beethoven. Acreditamos que este procedimento nos possibilitará a construção de uma interpretação criteriosa, convincente, que seja respaldada historicamente e, ao mesmo tempo, atual. / Particularly since the twentieth century, the concern in understanding how the repertoire of the classical period was truly performed grew extensively. This happened because interpreters and scholars in general, while realize the distance between performer and composer as well as the large amount of instrumental procedures that caused multiple traditions, felt need of an area of study designed for this kind of reflection. Therefore, this volume aims, in first place, conduct a brief study of some key issues that underlie the understanding of works from the classic period, within the field of the performance practices like: articulation, phrasing, dynamics, choice of tempo, rhythm, use the pedals, etc. Will be addressed also knowledge about Beethoven, manuscripts and first editions of his piano sonatas, as well as some information about the instruments of that time. Then, these criteria will be applied to the interpretation of Beethovens Sonata op. 110. We believe that this procedure will allow the construction of a careful, credible, historically founded and, at the same time, actual performance.

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).

La Troisième République a « mystifié » Beethoven. Elle en a fait un personnage de fiction, et l'a intégré au canon républicain français, en le dotant de toutes les valeurs morales et idéologiques qui fondent alors la construction de l'identité nationale. Ce travail vise à mettre en lumière le corpus particulier qui a contribué à la formation de ce mythe, en partie héritier du romantisme, mais aussi éminemment moderne. La critique musicale, la biographie, le roman, le théâtre, l'édition de vulgarisation et l'édition pédagogique sur Beethoven forment un ensemble organique, qui contribue au même but : la glorification du musicien de Bonn. Son image devient alors un matériau littéraire qui va former une véritable littérature beethovénienne, ainsi qu'une poétique, marquées par les emprunts multiples à l'épopée, à l'hagiographie, au roman-feuilleton, au roman picaresque et au drame bourgeois notamment. Cet ensemble composite tend pourtant à la standardisation, dans la mesure où se figent des motifs et des récits-types. Tout ceci contribue à faire de Beethoven le « héros de la conscience moderne ». L'idéologie républicaine l'élève comme figure d'identification et d'édification morale au même titre que les « classiques », de sorte que les intellectuels de l'entre-deux-guerres feront de ce nom un outil de sauvegarde des valeurs humanistes, face à la montée des périls. / The Third Republic « mystified » Beethoven. It turned him into a fictional character, and integrated him into the French republican canon, endowing him with all the moral and ideological values that then were at the root of the construction of national identity. This work aims to highlight a specific corpus, which contributed to the creation of the myth, which partly draws on Romanticism but is also eminently modern. Music criticism, biographies, novels, drama, popularization and educational works about Beethoven constitute an organic group of works, aiming at the glorification of the musician from Bonn. His image thus becomes a literary material, and contributes to building a beethovenian literature, and a beethovenian poetics, which borrows its aesthetics in particular from the epic, hagiography, serialized novels, picaresque novels and bourgeois drama. However this heterogeneous corpus tends towards standardization insofar as the narrative patterns somehow froze as commonplaces. All this leads to Beethoven being turned into the “hero of modern consciousness”. The republican ideology raised him to the rank of an icon both for identification and moral edification, in the same way as the “classics”. To the intellectuals of the interwar period he embodied humanist values and was a symbolic weapon against the rise of totalitarianism.

This dissertation explores the relationship between the critique of Jena romanticism and Beethoven's "neue Manier" in the context of the material conditions that shaped European modernity around 1800. By taking as a case study the piano sonatas Op. 31, each chapter examines from a different perspective what represents a key historical moment in the genealogy of the modern notions of musical form and experience. The underlying thesis is that instrumental music was legitimized via a massive epistemic transfer of values from the domain of the literary. From its integration into the economy of the literary, instrumental music acquired an unstable epistemic condition introduced in Chapter 2 as the "materiality of the literary." The theory of romantic irony serves as a methodological point of entry to scrutinize how musical practice, literary discourse, and socio-historical transformations collided and converged to reframe aesthetic experience. Through their critique, the Jena romantics complicated the relationship between the generic and the particular and upheld the preeminence of practice over theory in the art of modernity. Tracing connections between Beethoven's music and the literary, Chapter 4 suggests a structural homology between the novel, as paradigmatic form of literary modernity, and sonata form, as the main compositional strategy of the classical style. Both forms are seen as practices driven by a principle of openness toward difference that emerges within the formation of the literary. The formal approach Beethoven initiates with the sonata forms fashioned in Op. 31 will be recast in Chapter 5 as a self-reflexive manifestation of that principle within the interpretive framework offered by romantic irony. By virtue of the formalist thought of the literary, Beethoven's instrumental forms became aesthetic symbols of the modern self.

O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles). / The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).