Thesis--Heidelberg. / Vita. "Verzeichnis von Druckwerken und Manuskripten mit mehrstimmigen italienische Sonaten des 17. Jahrhunderts": p. [99]-107. Includes bibliographical references.

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Maurice Ravel (1875-1937) composed two sonatas for violin and piano, first one in 1897 and the later one during the period between 1923 and 1927. The first sonata wasn¡¦t discovered until 1975. The second one is more popular nowadays. In addition to the introduction and the conclusion, this thesis is divided into three chapters. The first chapter provides general information of these two sonatas. It emphasizes on the deep thoughts had given during Revel¡¦s composing, and records of the leading performers and performances of the two sonatas for violin and piano. In chapter two, the author analyzes and compares the structures and the writing methods for each movement from both sonatas. In addition, the author integrates correlations and the breakthrough points in each movement from both sonatas. Last chapter explores the violin techniques of these two works. Musical and technical suggestions are provided on the execution and interpretation. These two sonatas are the only ones written for violin and piano among all the strings chamber music works by Maurice Ravel. They are also the first and the last strings chamber music works Ravel composed. Each of the sonatas represents different music era of Ravel. The similarities and differences of writing style and violin technique used by Ravel in these two sonatas are presented in this thesis. The diversity of Ravel's sonatas for violin and piano certainly enriches the repertoire of performing violinists.

Benjamin Britten was a British composer who was notable in the twentieth century. His masterpieces in composing, conducting or in piano performance profoundly affected the later ages. This dissertation discussed his unique features in his creation and the use of skills in the cello sonata. Britten¡¦s motivation of creation was inspired by the perfect skills in performing cello music of Mstislav Rostropovich. First at all, this dissertation discussed Benjamin Britten¡¦s creative opinion of cello sonata and briefly mentioned the music environment at that time in the view of the British contemporary music. In addition, it introduced Britten¡¦s background in order to know the influences of his following musical creations. Lastly, the backbone of this dissertation was to analyze the inter-correlation of the musical forms, tonal analysis, motives, intervals and themes of the masterpiece, in order to induct the original idea of this composition. Britten¡¦s cello sonata not only combined the musical elements from traditional and contemporary period, but also used proper skill to perform the content of cello sonata in the adept skills. I hope the dissertation helped players perform this sonata wonderfully and correspond Brittan¡¦s music languages. Beside music lovers will able to get closer to his deeply thought from this dissertation.

Johannes Brahms¡]1833-1897¡^composed the ¡§Cello Sonata in F Major, Opus 99¡¨ in 1886. Brahms composed two sonatas for cello and piano in his lifetime. One of the cello sonatas that Brahms composed had been during the middle period of his life. While the second cello sonata had been composed during the late period of his life. These two cello sonatas showed different styles in different life time. This study is mainly based on ¡§Cello Sonata in F Major, Opus 99¡¨. It will explore the composing background and the techniques, as well as the cello techniques of this sonata. In addition, the paper would initially mention the brief introduction to Brahms chamber music in late period. Moreover, the cellists who had been around Brahms had given him good advice to word his compositions and analyzes the creation technique of cello sonata in F major, with a focus on alternation rhythm and development variation. Lastly, it will explore the cello performing techniques. I hope it will be helpful to the performer and also the performer who plays the sonata would already have the good technical ability. Besides that, able to understand the details of the content in this sonata the performer would be.

Beethoven composed five sonatas and three variations for cello and piano in his lifetime. His five cello sonatas (including two in his early, one in the middle and two in the late period), a series of very interesting compositions, showed different styles of different time. These two ¡§Cello Sonatas, Opus 102¡¨ are Beethoven¡¦s last composition for cello. They are marked the beginning of Beethoven¡¦s late composition style, as well as the most important compositions in the year of 1815. Hence we can say that those two pieces have attained considerable importance: not only in the change of style, but also in the innovation of his composing skills. Other than that, in these two ¡§Cello Sonata, Opus 102¡¨, the way of his composing for cello idioms heavily has influenced the six string quartets he composed later. This paper is mainly based on those two ¡§Cello Sonatas, Opus 102¡¨ in Beethoven late career. It discusses the composing background of those two pieces, the techniques in which they were written, and the characters of its music. In addition, the paper would initially mention the improvement of string instruments and the progresses of performing techniques in the 18th Century, and how the cellists around Beethoven influenced his compositions. Further, we can even find, by his late two cello sonatas and chamber music, how Beethoven has improved the conventional role of cello.

Dmitri Shostakovich is one of the most important Russian composers of the Soviet period. Being a prolific composer, he had created a great many orchestra music and opera, as well as a substantial quantity of popular film music under the pressure of the Soviet regime. Although Shostakovich was judged crucially in one of his works in opera by Pravda in 1936, his passion still remained firm he for composition. It was only until his piano quintet finished in1940 that received the national awards, and became honored and well-known both domestically and internationally. In terms of chamber works, Shostakovich had composed one sonata each for violin, viola and cello and fifteen string quartets. His¡§Cello Sonata in D Minor, op. 40¡¨ finished in 1934. This work is subject to traditional musical form with unconventional tonality. For example, Shostakovich¡¦s use of unique harmonics and resonances, blended with lyrical melody and folk style, is so penetrative that it has become one of the most celebrated cello master pieces in Russia. This lecture-recital document includes three major discourses. The first and the second parts summarize the introduction of the background of modern Russia and the personal review of Shostakovich. The third section gives an analysis on the creation background and techniques of the ¡§Cello Sonata in D Minor, op. 40¡¨. This document will try to discuss the techniques and possible interpretations by looking into the recording by Shostakovich. Hopefully, the document can shed light onto the composer¡¦s originality.

During the prosperous period of romanticism and phenomenon of freedom, Brahms confined himself as a composer of classicism. He integrated the classical structure and the contemporary music language into his works. Brahms created his own style by using the powerful harmony and heavy texture with the form of baroque and classical music. The particular style was highly praised by the complicated rhythm pattern and the development of motive and theme. He left many kinds of works, including chamber music, piano pieces, and symphonies, etc., as a greatly significant legacy for the future generations. Cello Sonata in E Minor was one of Brahms¡¦ most important chamber works created in his middle period of life. In this piece, there was a specific arrangement for cello in order to emphasize on the thick and solid lower timbre of this kind of instrument. His mature style developed later on from the patterns of rhythms and motives. Although this sonata was not composed in the golden period of his life, it still became one of the most important masterpieces in today¡¦s history. This essay can be divided into two parts. The first part is focusing on the Brahms¡¦ background, works sorted, style, and the significant effective position in the music history. The second part uses the music structure, harmony disposition, and motive development to analyze Cello Sonata in E Minor, and goes more in depth over the rhythms and motives of Brahms¡¦ common use in the piece. Finally, it also concentrates on the dynamics, terminology, and the balance between the different pitch compasses in order to meet the hope of not only exactly following the composer¡¦s creative thoughts but also strongly expressing the personal characters of performers.

Abstract The Société Nationale de Musique was founded by Camille Saint-Saëns (1835-1921) and his colleagues in 1871; its establishment marked the beginning of the French Musical Renaissance. Gabriel Fauré (1845-1924) was one of the most important composers among this movement, and all his ten works for different combinations of instrument enriched the repertoire of the French chamber music. Among these ten works, Sonata for Violin and Piano No.1 in A major, Op.13 is a masterpiece among Faur顦s early works. Although Faure wasn't an expert in violin, he still experimented on a variety of timbre in this work with the help of violinist Hubert Léonard (1819- 1890). This document can be divided into three parts. The first part focuses on the Faure¡¦s life, style, and chamber music works. The second parts briefly introduce the work¡¦s background and composing techniques of Faur顦s Op.13. The third part further discusses with performing techniques and interpretations of this sonata. Through the research of this work, author, hopefully, could help violinists will not only focus on the technique stage but also convey the idea of the composer more accurately while playing this work.

Claude Debussy is one of the most important composers in France in the late nineteenth century. Since Debussy¡¦s compositional style is similar to with the ¡§Impressionism¡¨ in painting which prevails at that time. As a result, Debussy¡¦s compositional style is considered as the Impressionism in music. This study provides an overall view of the Debussy¡¦s final work, ¡§Violin Sonata¡¨, which displays the hazy atmosphere of Impressionism. The showing virtuostic techniques of Debussy¡¦s violin sonata are greatly different from the works of Henry Wieniawski and Pablo de Sarasate who emphasize on showing virtuostic technique. This sonata expresses rich and imaginary feelings by particular alternation of tone color, requiring many musical terminologies that exactly indicate not only the change of the tempo but also the position of the playing so that player can achieve an ideal timbre or convey the emotion. Except the preface and conclusion, this thesis includes two parts. The first part discusses about Debussy and Impressionism, briefly introducing his life and raising examples to show some characters of Impressionism in this work. The second part describes the historical background of his violin sonata and his compositional techniques on rhythm and musical figure such as ostinato, tautaphony, polyphony. Moreover, it also respectively explores how to express the emotion and the appropriate performance techniques for dealing with the dynamics with Debussy¡¦s instructions on each chapter.