This paper aims to draw attention to the oft neglected cello compositions of Ernst von Dohnányi. A prolific performer, composer, and pedagogue, Dohnányi has fallen into obscurity amongst the general population since his passing in 1960. Among the works discussed in this document are two unpublished sonatas from Dohnányi’s childhood, his Cello Sonata in B-flat, op.8 and his Konzertstück for Cello and Orchestra op.12. Each piece is given a historic background placing it among events of the composer’s life that led to its genesis and premier. This is followed by a formal and harmonic analysis and concludes with special considerations for the cellist in performing or teaching each work. Also included are complete editions of two previously unpublished works: Sonata for Cello and Piano in G-major composed in 1888 and a Grand Sonata for Cello and Piano in C-major composed in 1889. The manuscripts for both works are contained within the British Library’s Dohnányi Collections, from which I have compiled and edited the following performance editions. It is my hope that these two sonatas will enter the repertoire of student cellists supplementing the relatively small catalogue of music for the intermediate cellist.

Hungarian pianist, composer, conductor, teacher and administrator, Ernst von Dohnányi (Ernö Dohnányi in Hungarian), was considered one of the most versatile musicians and the first architect of Hungary's musical culture in the late nineteenth and early twentieth-century. Dohnányi composed the Four Rhapsodies, op. 11, between 1902 and 1903, and among his many piano compositions, op. 11 are regarded as some of his most substantial works. Without directly imitating the earlier works of Liszt and Brahms, Dohnányi contributed to the rhapsody tradition with op. 11 by using his own unique stylistic compositional elements in the textural and formal structure. Texture and form are the most indicative characteristics of his rhapsodic language because of the improvisational nature that permeates his compositional style in the rhapsodies. In this dissertation the works are examined from within its textural and formal structure. Within texture, rhythm and accompanimental figurations are examined. Each rhapsody's structural organization, including references to eighteenth-century forms, and the cyclical elements in the work is analyzed. Background information on Dohnányi and a brief history of the rhapsody in the 19th century is also included.

Det är allmänt erkänt av forskare att klassisk musik förefaller förlora sin popularitet bland ungdomar, åtminstone i dess traditionella framförandeformer. Emellertid har det visats i undersökningar att vissa förändringar i utformning kan göra konstmusikkonserter mer intressanta för en yngre publik. Den här studien syftar på att undersöka hur sådana förändringar är representerade i ungdomstilltalande annonser för konstmusikkonserter, och i vilken utsträckning annonsernas musikaliska aspekter påverkar och väcker ungdomars intresse. Tre reklamvideor med olika form och karaktär valdes ut för utförlig undersökning. Reklamfilmerna beskrevs i detalj och därefter utfördes en analys av deras musikaliska aspekter och ungdomsinriktade element. Annonsernas användning av musik analyserades enligt en analysmall baserad på Nicolai Graakjærs bok Analyzing Music in Advertising: Television Commercials and Consumer Choice (2014). I analyserandet av reklamfilmernas ungdomstilltalande karakteristiker eftersöktes både sådana faktorer som var beskrivna i tidigare forskning och nya element. Studiens resultat finner ett stort urval av ungdomsinriktade strategier och tekniker i reklamfilmerna, inklusive valet av deras använda musikstycken och hur dessa musikstycken infogas i reklamfilmerna. Förslag för vidare forskning diskuteras i uppsatsens avslutande kapitel. / It is widely recognised by scholars that classical music seems to lose popularity among young people nowadays, at least in its traditional forms of performance. However, research has shown that there are certain changes that can be made to classical music concerts to make them more interesting for a younger audience. This study aims to examine how these changes are represented in youth-addressing commercials for classical music concerts, and to which extent the commercials’ musical aspects contribute to the aim of arousing young people’s interest. Three commercials of different form and character were chosen for detailed examination. The commercials are described in detail and then analysed based on their musical aspects and youth-oriented components. The use of music in the commercials is analysed according to a template based on Nicolai Graakjær’s book Analyzing Music in Advertising: Television Commercials and Consumer Choice (2014). The analysis of the commercials’ youth-appealing features consists of searching for elements described in previous research as well as new ones. The study’s results find a wide variety of strategies and techniques used in the commercials to attract young people, including the choice of the used music pieces and the way these pieces are incorporated in the commercials. Suggestions for further research are discussed in the closing chapter.

Einleitung: Inhalt des Stücks Die Pantomime oder Ballett-Pantomime Der Schleier der Pierrette von Arthur Schnitzler mit der Musik von Ernst von Dohnányi wurde im November 1908 vollendet. Diese Pantomime in drei Bildern entstand nach Schnitzlers fünfaktigem Versedrama Der Schleier der Beatrice, das 1900 in Wrocław [Breslau], im damaligen Preußen, seine Premiere hatte. Die Pantomime Der Schleier der Pierrette ähnelt in seinen Hauptpunkten dem Prototyp, stellt aber ein selbstständiges Werk dar. Aus der Commedia dell’arte entstanden, stellte sich diese Pantomime des frühen 20. Jahrhunderts als ein neues besonderes Genre vor, dem Zeitgeist der Belle Epoque entsprechend. Das Werk von Schnitzler/Dohnányier weckte von Anfang an unter den Regisseuren und Choreografen in den slawischen Ländern, wie in Böhmen, Russland und Jugoslawien, großes Interesse.