Investigation of the historically informed performance movement with regard to its influence on violoncello playing since 1981 is approached in this critical commentary through the analysis of three different interpretations of Haydn’s Cello Concerto in C major. These interpretations are recordings by prominent cellists who have influenced or been influenced by the rise in popularity of the historically informed performance movement, namely Anner Bylsma, Pieter Wispelwey and Yo-Yo Ma. The critical commentary includes a brief summary of the musical careers of each individual and reports on the publicity surrounding them in an attempt to discover each performer’s views on the importance of historical performance practice and the extent to which these views are reflected in their performances. In order to establish what constitutes a historically informed interpretation of Haydn’s Cello Concerto, this document provides a brief background to the historical performance movement and also to the work itself. In the critical commentary, this work is analysed in relation to six specific aspects of historically informed interpretation: instrumentation, pitch, vibrato, tempo, ornamentation and cadential improvisation. By examining and comparing these aspects in the aforementioned twentieth-century recordings, this critical commentary concludes in support of Taruskin’s (1984) position on the now fashionable debate of historical performance practice. Namely, that the historical performance movement has been influenced as much by modern taste and aesthetics as by the attempt to create historically ‘accurate’ music.

Investigation of the historically informed performance movement with regard to its influence on violoncello playing since 1981 is approached in this critical commentary through the analysis of three different interpretations of Haydn’s Cello Concerto in C major. These interpretations are recordings by prominent cellists who have influenced or been influenced by the rise in popularity of the historically informed performance movement, namely Anner Bylsma, Pieter Wispelwey and Yo-Yo Ma. The critical commentary includes a brief summary of the musical careers of each individual and reports on the publicity surrounding them in an attempt to discover each performer’s views on the importance of historical performance practice and the extent to which these views are reflected in their performances. In order to establish what constitutes a historically informed interpretation of Haydn’s Cello Concerto, this document provides a brief background to the historical performance movement and also to the work itself. In the critical commentary, this work is analysed in relation to six specific aspects of historically informed interpretation: instrumentation, pitch, vibrato, tempo, ornamentation and cadential improvisation. By examining and comparing these aspects in the aforementioned twentieth-century recordings, this critical commentary concludes in support of Taruskin’s (1984) position on the now fashionable debate of historical performance practice. Namely, that the historical performance movement has been influenced as much by modern taste and aesthetics as by the attempt to create historically ‘accurate’ music.

Investigation of the historically informed performance movement with regard to its influence on violoncello playing since 1981 is approached in this critical commentary through the analysis of three different interpretations of Haydn’s Cello Concerto in C major. These interpretations are recordings by prominent cellists who have influenced or been influenced by the rise in popularity of the historically informed performance movement, namely Anner Bylsma, Pieter Wispelwey and Yo-Yo Ma. The critical commentary includes a brief summary of the musical careers of each individual and reports on the publicity surrounding them in an attempt to discover each performer’s views on the importance of historical performance practice and the extent to which these views are reflected in their performances. In order to establish what constitutes a historically informed interpretation of Haydn’s Cello Concerto, this document provides a brief background to the historical performance movement and also to the work itself. In the critical commentary, this work is analysed in relation to six specific aspects of historically informed interpretation: instrumentation, pitch, vibrato, tempo, ornamentation and cadential improvisation. By examining and comparing these aspects in the aforementioned twentieth-century recordings, this critical commentary concludes in support of Taruskin’s (1984) position on the now fashionable debate of historical performance practice. Namely, that the historical performance movement has been influenced as much by modern taste and aesthetics as by the attempt to create historically ‘accurate’ music.

Inaug.-diss.--Leipzig. / Vita. "Literatur": p. [71].

Inaug.-diss.--Leipzig. / Vita. "Literatur": p. [71].

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: John Walter Hill. Includes bibliographical references (leaves 965-1003) Available on microfilm from Pro Quest Information and Learning.

Thesis (M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaves 114-116). Available online via OhioLINK's ETD Center.

Franz Joseph Haydn’s (1732-1809) Sturm und Drang years (1768-1773) are described by Mark Evan Bonds as a period of exploration or experimentation of compositional techniques. Based on this premise, this thesis provides in-depth analyses of twenty symphonic minuet movements from the composer’s Sturm und Drang period with the goal of illuminating how Haydn treated the conventionally constrained minuet form. In particular, I discuss how Haydn thwarted formal and rhythmic generic expectations by drawing on James A. Hepokoski and Warren Darcy’s concept of formal deformation. Using William E. Calpin’s theory of formal functions to approach issues of form and cadences, the thesis explores formal and cadential deviations from the Classical norm in aspects of the minuets’ intra-thematic structures, coda/codetta treatment, motivic homogeneity, harmony, and melody. My study also discusses aspects of hypermeter and metrical dissonance through metrical groupings, melodic fragments and dynamics to demonstrate a variety of techniques employed by Haydn to subvert metrical expectations in this dance form through models offered by David W. Beach, Ryan McClelland, and Floyd K. Grave. Finally, a study of the trios of the symphonic movements illustrates how Haydn engaged the middle portion of the movement to highlight the minuets’ deformations, either by normalizing or enlarging formal or metrical deviations. In sum, this thesis argues that Haydn’s creative deviations in the Sturm und Drang Minuet movements exemplify his search to transcend the conventional boundaries of a form heavily saturated in formal, harmonic, cadential, and rhythmic expectations.

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