Tübingen, Universiẗat, Diss., 2008.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. Includes bibliographical references (leaves 544-554).

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The concept of “creating tone” indicates the relationship that Beethoven wanted with his main instrument, the fortepiano, and symbolizes his desire for expression when performing on the instrument. The story of Beethoven’s evolving pianistic writing unfolds in tandem with his changing instrument preferences; there is a constant feedback loop between innovations in piano construction and his piano music. This study investigates how Beethoven “created” his own tone when faced with the new Erard and Streicher instrument models in the first decade of the nineteenth century. The first chapter outlines the context of Beethoven’s involvement with contemporary instruments up to the early nineteenth century. His progressive tendencies in relation to the Stein vs. Walter actions and his interest in the English school of playing demonstrate this perspective. His eventual purchase of an Erard instrument in 1803 is an example of his desire to be on the forefront of instrument building developments in his time. The influence of Beethoven’s Erard piano on his pianistic output is assessed in chapter two by examining several compositions written during this period that reflect characteristics of French pianism and instrument building. Many of Beethoven’s pianistic innovations can be understood in the context of this new model. Pianistic devices include the use of register as a compositional dimension; vocal melodic style; textural innovations to enhance the Harmonie of the instrument, such as the tremolo effect; and the use of multiple, colourful pedals. The link between Beethoven and the instruments of the Streicher firm is the subject of the third chapter. The resultant merging of Viennese, English, and French features in piano construction led to the creation of an instrument that was reported as fully “orchestral” in sonority. Pianistic devices of this period include the return to a rapid “Viennese” touch; sustained lyricism; and, in concerto writing, scoring for the piano as an equal to the orchestra. Many of the musical elements that we embrace as characteristically Beethovenian may have their origin in these organologically-inspired pianistic effects.

Tübingen, Univ., Diss., 2008.

The relationship between piano manufacturer and composer is interactive, and consequently both compositions and performance styles evolved organically due to this relationship. Early on, the instrument had more influence on the composer, whereas with the instrument’s establishment, composers began to exert more influence on the subsequent development of the instrument through their requests of manufacturers. The relationship between pianist-composers and manufacturers is important for pianists to study and understand, as well as the actual sound of a composer’s fortepiano and the way he performed on it. Through studying the development of the piano and the relationship between manufacturers and composers, pianists can reinterpret compositions before the mid nineteenth century, such as Mozart, Beethoven, Dussek, Chopin, and Liszt, using their knowledge of the aforementioned to bring a different perspective to their performances on the modern piano. There are numerous manufacturers and composers who made important contributions to the development of the piano. This dissertation focuses on selected pianist-composers and fortepiano manufacturers, and the impact of their relationship on piano literature before 1860.

Ensemblestück für Oboe, Klarinette, Fagott, Marimba, 2 Violinen, Viola, Violoncello und Kontrabass. Das in freier Tonalität gehaltene Werk orientiert sich an der Sonatensatzform. Aufführungsdauer: 8\'20\".

Der 25. Psalm für gemischten Chor und sechs Streicher entstand im Jahr 2000 für den Gottesdienst am 17. Sonntag nach Trinitatis in der Dreikönigskirche Dresden. Die Ausführenden waren der Chor der Hochschule für Kirchenmusik Dresden und Mitglieder von Sinfonietta Dresden unter Leitung von Christfried Brödel. Die Textauswahl folgt dem Evangelischen Gesangbuch (Nr. 713). Das dialogische Prinzip der Textvorlage findet sich wieder in dem Wechsel von hohen und tiefen Chorstimmen. Von dem Werk existiert auch eine Fassung für Chor und Orgel. Den Computer-Notensatz erstellte der Komponist 2024.

Ensemblestück für Oboe, Klarinette, Fagott, Marimba, 2 Violinen, Viola, Violoncello und Kontrabass. Das in freier Tonalität gehaltene Werk orientiert sich an der Sonatensatzform. Aufführungsdauer: 8\''20\".

The central focus of this thesis is to rediscover Julius Streicher and to determine whether his actions merited the same punishment as other persons executed for war crimes. Sources used include Nuremberg Trial documents and testimony, memoirs of Nazi leaders, and other Nazi materials. The thesis includes seven chapters, which cover Streicher's life, especially the prewar decades, his years out of power, and his trial at Nuremberg. The conclusion reached is that Streicher did have some influence on the German people with his anti-Semitic newspaper Der Sturmer, but it is difficult to ascertain whether his speeches and writings contributed directly to the extermination of the Jews in World War II or simply reflected and magnified the anti-Semitism of his culture.