System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 20, 2008, Aug. 2, 2008 (missing), Mar. 5, 2009, and June 18, 2009. Includes bibliographical references (p. 71-73).

The poet of this cycle, Sydney Vernon Petersen, was a man who faced great adversity during Apartheid. The title of this cycle, Alleenstryd, is an Afrikaans term for 'a struggle alone.' Petersen was of mixed heritage or "Coloured" and born in South Africa in 1914. He died in 1987. His most important works in Afrikaans poetry were published between 1948 and 1965. This cycle specifically focuses on the relationship between the poet and his community, the isolation he endured within that community, the depths of despair he felt and how he overcame those obstacles to finally achieve a sense of self-worth. This group of poems, first published as an anthology by Tafelberg Press in 1979, became the source of inspiration for the composer Hendrik Hofmeyr. The purpose of this research is to identify the significant social, political and musical influences on the composer which contributed to the composition of Alleenstryd (1996), especially the significance of his self-imposed exile. Also, the Afrikaans language, a derivative of 17th century Dutch, is a language dear to its speakers but not widely accessible or familiar to most other nations. Hopefully this research will provide more information and make the language, its composers and the story of the dark history surrounding Apartheid and specifically the individuals who excelled through hardship, available to more people.

Hendrik Hofmeyr is a prolific South African composer, who has written well over 150 works to date. Many of these compositions were commissioned for performers such as the British duo Nettle & Markham, the Hogarth Quartet and the Latvian youth choir Kamer. Sinfonia africana was composed in 2003, as a commissioned work for the Vriende van Afrikaans. Sinfonia africana is a large-scale work scored for solo soprano, choir and orchestra. It consists of three movements, each based on a different poem: The first movement is based on Marais’s Die Lied van Suid-Afrika, while the middle movement uses Opperman’s Gebed om die Gebeente, with the third movement concluding Sinfonia africana with van den Heever’s Afrika. Both the second and third movements of Sinfonia africana are related to earlier Hofmeyr compositions, namely the 1999 chamber work Gebed om die Gebeente and the 2001 choral work Afrika. This study aims to identify, analyse and discuss the basic elements of music found in the three movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika. The various elements of music that constitute compositional and stylistic techniques are: text, structure, pitch, harmony, rhythm, texture, timbre, dynamics and articulation. These elements of music will be compared with each other in the various movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika, to determine their contribution to Hofmeyr’s compositional and stylistic techniques as a whole. / Dissertation (MMus)--University of Pretoria, 2015. / Music / Unrestricted

The piano sonata’s prominent position in Western art music is reflected in both its long history and its presence in the oeuvres of composers from across the globe. While some information on piano sonatas by South African composers has been included in academic literature, no comprehensive research has been done in the field. This lacuna is addressed in this thesis of which the main research strategy is analytical, without precluding other data-collection methods such as literature studies, archival research and consultation with composers. The thesis comprises an introductory chapter with background information and an outline of the principal research aim and objectives; a general literature review of scholarly work in the field; a summary of academic literature on solo piano sonatas by South African composers; detailed analyses of two recent and diametrically opposed 21st-century solo piano sonatas, by Hendrik Hofmeyr (1957- ) and Graham Newcater (1941- ) respectively; and a final chapter with concluding remarks. Detailed catalogues of sonatas by South African composers, for piano as well as for other instruments, are included as appendices. Findings show that in correspondence with international trends, the piano sonata has held a prominent role in South African music-making with more than 230 works completed since 1900. A chronological estimation shows a more-or-less gradual increase in the number of sonatas composed up to 1975. 30 works were finalised between 2006 and 2015, suggesting that many contemporary composers continue to reference sonata structures as a guiding principle in largescale forms. The characteristics of the majority of sonatas analysed and those discussed in the literature summary correlate to some extent with 19th- and 20th-century traditions. There are nevertheless also various exceptions and novel explorations of traditional sonata practices. From a stylistic perspective, the works engage with a range of international aesthetic discourses, constantly repositioned within the post-colonial, South African zeitgeist. The sonata’s prominent position in South African art music is not only reflected in the historically high frequency of its use, but also in the ways the sonata paradigm is continuously being reinvented, deconstructed and developed to reflect the country’s idiosyncratic and dynamic cultural identity

Hendrik Hofmeyr is considered one of the most important and influential living composers in South Africa. His music for solo saxophone is not well-known in the classical saxophone repertoire. His four works for solo saxophone (Concerto per saxofono contralto e orchestra, Concerto per saxofono baritono e orchestra, Partita canonica, and Necromancer) are substantial and terrific repertoire for the instrument. This study is intended to inform a saxophone performer's understanding of these compositions through analysis of form, melodic, and harmonic content relevant to performance; and, demonstrate through example the conclusions determined by the analysis about apparent compositional techniques in the music.

Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.

Thesis (MTh)--Stellenbosch University, 2001 / ENGLISH ABSTRACT: The small rural congregations, of which the Dutch Reformed Congregation ofHofmeyr is part, strive to keep the status quo with their congregational structure and leadership. However the times we live in is characterised with a lot of changes. The rural areas cannot escape al these changes. It brings these congregations at a T-junction in the road, where they must decide which way to go. The problem is that these congregations do not always have a good understanding of who, what en how the church must be. With this self-initiated study the researcher tries to put in place a practicaltheological process for the Dutch Reformed Congregation of Hofmeyr with the aim to work out her nature and character, her ministry practise and structures. The researcher tries to discus in practicaltheological terms the future of the Dutch Reformed Congregation ofHofmeyr with spesific focus on the development of new structures for the faith-leaders of the congregation. With this study the researcher wants to render an account of the history, the statistics of the previous 17 years and an analysis of the context of the congregation with the aim to discern the current understanding of the congregation about the church. Through interaction with Scripture and other disciplines the researcher wants to develop a possible base and practical theory for the congregation. Following from this the researcher wants to set guidelines for the process of developing a new ministry practise. In this process the development and rol of the faith leaders is a keyfactor. The study is arranged in the following chapters: In the introduction the researcher places the study in the proper framework. The different dimensions of the study are explained. The purpose is to orientate the reader about the congregation, the community and the specific area of this research. The purpose of the second chapter is to give the reader a picture of the congregation and the context in which the congregation functions. It becomes clear that the members of the congregation grow older and hardly any young people join the congregation. The younger members and children of the congregation grow-up in an altogether different world than the older members did and very few of them make sense of the traditional way of being a congregation. The changes in the world have the result that the current way of being a congregation is just not exceptable to anybody. In the third chapter the researcher explains the paradigm shifts and megatrends observed in the world and their influence on the church as a whole, also the influence there-of on the local community and congregation. It becomes obvious that the small rural congregation cannot side-step these shifts and trends - with one part of the congregation routed firmly in the Christendom-era paradigm and another part of the congregation on its way to a different but still undefined paradigm. This whole process brings uncertainty and stress in the congregation. Following from this knowledge of the world and the congregation the researcher tries to develop a more Scripture-based understanding of who, what and how the congregation is supposed to be. The focus is to develop an improved base theory for the congregation. In the forth chapter this base theory for the congregation must be put into practice. The researcher tries to show what does this base theory means in practice. The following comes into play: the congregation must be an open family of God. We must not only say that we believe. We must have a faith that we live in practice. Each member must participate with his/her gifts in the different ministries of the congregation. The congregation must reach-out to the community to help the poor develop different skills with the focus to break the cycle of poverty. We must have good communication between all the different generations. We must be a congregation that loves nature and preserve it for posterity. Lastly we must have leaders that inspire and motivate the congregation through their service. In the fiveth chapter the researcher tries to develop a strategy to implement the practical theory of the previous chapter. The focus is on the development and equipping of faith leaders. The researcher presents some guidelines for doing this. He demonstrates that a new structure for the congregation is needed to be faithful in the development of these faith leaders. / AFRIKAANSE OPSOMMING: Die klein plattelandse gemeentes, waarvan die Ned. Geref. Gemeente Hofmeyr, deel is, strewe om die status quo rondom hul gemeentelike struktuur en leierskap te handhaaf. Die tye waarin ons lewe word egter gekenmerk deur baie veranderinge. Die platteland kan ook nie ontkom aan al hierdie veranderinge nie. Dit bring die gemeentes by 'n T-aansluiting in die pad waar hulle keuses moet uitoefen. Die probleem is egter dat diesulke gemeentes nie altyd 'n goeie verstaan het van wie, wat en hoe die kerk moet wees nie. Met hierdie selfgemisieerde studie poog die navorser om vir die Ned. Geref. Gemeente Hofmeyr 'n prakties-teologiese proses daar te stel, met die doel om sy aard en wese, sy bedieningspraktyk en 'n bedieningstruktuur uit te werk. Die navorser poog om in prakties-teologiese terme die toekoms van die Ned. Geref. Gemeente Hofmeyr, te beredeneer, met spesifieke toespitsing op die ontwikkeling van nuwe strukture vir die geloofsleiers van die gemeente. Met hierdie ondersoek wil die navorser deur middel van 'n oorsigtelike geskiedenis, die statistiese gegewens van die afgelope 17 jaar en die ontleding van die konteks van die gemeente, bepaal wat die huidige kerkbegrip van die gemeente is. Dan, in wisselwerking met die Skrif en ander wetenskappe, 'n moontlike basis- en praktykteorie vir die gemeente daarstel. Hieruit voortvloeiend, poog die navorser om riglyne vir die proses na die ontwikkeling van 'n nuwe bedieningspraktyk daar te stel. Die ontwikkeling en rol van geloofsleiers staan in die proses sentraal. Die studie word in vyf hoofstukke verdeel: Met die eerste hoofstuk poog die navorser om inleidende opmerkinge oor die verskillende dimensies van die navorsing daar te stel. Die doel is om die leser te orienteer ten opsigte van die gemeente, gemeenskap en vakgebied van die navorsing. Die tweede hoofstuk poog om 'n beeld van die gemeente en die konteks waarbinne die gemeente homself bevind, daar te stel. Dit is duidelik dat ons met 'n al ouerwordende gemeente te doen het. Die jonger lidmate en kinders van die gemeente word in 'n heel ander wereld groot en min vind enige sin in die tradisionele manier van gerneente-wees. Die verandering in die wereld rondom almal maak dat die huidige manier van gerneente-wees vir niemand meer aanvaarbaar is nie. In die derde hoofstuk kom die paradigma-skuiwe en hul invloed op die kerk as geheel, en die uitwerking daarvan op die plaaslike gemeenskap en gemeente, aan die orde. Dit word duidelik dat daar 'n groot paradigma skuif in die wereld aan die gebeur is en dat selfs ons, in die klein plattelandse gemeente, die invloed van die verskuiwing ervaar. Die een dee! van die gemeente is volledig in die vorige paradigma en die ander deeIis op weg na iets anders. Dit bring baie onsekerheid en spanning in die gemeente na Yore. Vanuit hierdie verstaan, poog die navorser om die bestaande verstaan van die gemeente-wees te plaas op In meer Skrifgefundeerde grond van wie, wat en hoe die gemeente moet wees. Die strewe is om In meer gesonde basisteorie vir die gemeente te ontwikkel. Met die vierde hoofstuk word hierdie basisteorie vir die gemeente in die praktyk omskep. Daar word gepoog om aan te dui wat dit prakties vir die gemeente beteken. Die volgende sake word aangeraak: Die gemeente moet In oop familie van God wees. Ons moenie net se ons glo nie, maar In geleefde geloofbesit. Elke lidmaat moet volgens sy/haar gawes betrokke wees in die vele bedieninge wat daar in die gemeente is. Die gemeente moet uitreik na buite deur onder andere In verskeidenheid vaardigheidsklasse te begin om mense te help om uit die siklus van armoede te breek. Ons moet In gemeente wees waar daar goeie kommunikasie tussen al die generasies is. Ons moet In gemeente van die aarde wees wat omgee vir die natuur en dit bewaar vir die nageslag. Ons moet ook In gemeente wees met In leiersgroep wat inspirerend en motiverend in die gemeente dien. Met die vyfde hoofstuk poog die navorser om In strategie te ontwikkel om hierdie praktykteorie wat in die vorige hoofstuk na yore gekom het, te implementeer. Die daarstelling en ontwikkeling van geloofsleiers word duidelik as die hoof-fokus uitgewys. Daar word gepoog om riglyne vir geloofsleiers-ontwikkeling uit te stip en dit te plaas binne In nuwe bedieningspraktyk vir die gemeente.

Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: The sonata for violin and piano has a well-deserved place within chamber music in South Africa. It has always been one of the most prominent chamber music genres within Western art music. Between 1800 and 1900 this genre took up 21% of all composed sonatas at the time. This study provides insight into the situation in South Africa about 100 years later and it provides a critical text analysis of three violin sonatas by three of the most prominent composers of art music in South Africa. These composers are Roelof Temmingh (1993), Peter Klatzow (1996) and Hendrik Hofmeyr (2008). These are the only sonatas for violin and piano written by these three composers. There is a limited amount of violin sonatas in South Africa. A list acquired from SAMRO, statistically the most reliable source of worklists in South Africa, contains only eleven sonatas for violin and piano. These do not even include the violin sonatas of Temmingh and Hofmeyr. The limited amount of sources forces a unique aspect of research method, namely conversations with two of these composers themselves (Klatzow and Hofmeyr). This primary source of information from the two living composers assisted in the analysis of the music. European influences can be seen in all three of these sonatas. The three composers adapt and transform the music to fit their individual use of sonata form. Each of these three works contains three movements, as is customary with traditional sonata form. The second movements function as intermezzi, that leads the narrative through from the first to the last movement. Each of the three composers have their own unique sense of tonality and thematic use. Temmingh uses a main theme that resurfaces throughout the three movements – leading the whole work to sound like one large movement. Klatzow uses complicated thematic structures and thick textures. From these thematic material he extracts smaller parts later in the movement to recapture the essence of the main theme complex and to add unity to the work as a whole. Hofmeyr uses carefully planned structures and this makes his sonata the most structured of the three. His textures are thick and his tessituras are wide, and he is the only one of the three composers who uses key signatures. Like Temmingh he also makes use of a main motto-theme that resurfaces in the last movement adapted to fit the movement’s structure. In terms of the traditional use of form structure these three sonatas fit the 19h century conventions. The main outcome of this study is to introduce these works to especially the younger generation of performers in South Africa. / AFRIKAANSE OPSOMMING: Soos menige ander kunsmusiek-genre het ook die (begeleide) vioolsonate ‘n stewige plek in die Suid-Afrikaanse musiek verkry. Die sonate vir viool en klavier is een van die mees prominente kamermusiek-genres in Westerse kunsmusiek. Tussen 1800 en 1900 was soveel as 21% van alle sonates, werke vir viool en klavier. Dit is dus van spesiale belang om kennis te neem ten opsigte van hierdie situasie in Suid-Afrika ongeveer 100 jaar later. Die kern van hierdie tesis is ‘n stylkritiese teksanalise van drie Suid-Afrikaanse vioolsonates deur drie prominente Suid-Afrikaanse komponiste, nl. Roelof Temmingh (1993), Peter Klatzow (1996) en Hendrik Hofmeyr (2008). Met uitsondering van ‘n sonate vir solo viool deur Klatzow, is hierdie werke die enigste vioolsonates deur dié komponiste. Daar is ‘n beperkte aantal vioolsonates in Suid-Afrika. Selfs by SAMRO, wat ‘n aanvaarde statistiese bron van die werkslyste van komponiste in Suid-Afrika is, is daar slegs elf vioolsonates op rekord (dit sluit die vioolsonates van Temmingh en Hofmeyr uit). Die skaarste aan bronne wat oor dié onderwerp handel, dwing die navorser om onderhoude met die oorlewende twee komponiste te voer. Dit is uniek om musiek te kan bespreek met die komponis daarvan. Hierdie primêre bron van inligting vertoon unieke insigte, wat ‘n invloed op die analises van die musiek gehad het. Europese invloede is by al drie komponiste sigbaar. Die toepassings van die struktuurelemente van sonatevorm kom by al drie komponiste voor. Al drie werke is driedelig en die eerste bewegings is almal in aangepaste sonatevorm. Die tweede bewegings vorm deel van ‘n deurloop (ter ondersteuning van die narratief) na die laaste beweging toe en die laaste bewegings sorg by elke werk vir ’n unieke vorm van “konflikoplossing”. Al drie komponiste toon hul eie spesifieke sin vir tonaliteit en tematiek. Temmingh se sonate loop amper as ‘n eenbewegingstruktuur, deur middel van ‘n “motto”-tema, wat deurgaans in dieselfde toonsoort voorkom. Klatzow gebruik ‘n verskeidenheid teksture en tessiture, asook lang temakomplekse, waaruit sekere kleiner motiewe gehaal word om die musiek se eenheidsin weer te gee. Hofmeyr se uiteengesette vormplanne maak sy werk meer gestruktureerd. Ook by hom is die teksture omvangryk, maar sy gebruik van toonsoorttekens (wat afwesig is by die ander twee komponiste) vertoon nie deurgaans die toonsoort waarin die musiek werklik is nie. Hy maak ook van ‘n motto-tema gebruik. Die eerste beweging open daarmee en in die derde beweging keer dit in ‘n aangepaste vorm terug. In terme van die tradisionele Europese vormgebruike, kan hierdie drie vioolsonates onder 19de-eeuse kunsmusiek geklassifiseer word. Hierdie studie poog om ‘n bydrae te maak tot die bekendstelling van hierdie werke by veral jong musici in Suid-Afrika.

The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

Thesis (MMus (Music))--University of Stellenbosch, 2009. / This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.