This thesis aims to deal with the famous Violin Concerto no.2 of Wieniawski who is a member of French violin school and a virtuoso soloist during the mid-nineteenth-century. Wieniawski was admitted to the master class of Lambert Massart, a member of French violin school which many violin treaties and pedagogies came from. Wieniawski was a soloist when he¡¦s young. He settled in St Petersburg from 1860 to 1872 and exerted a decisive influence on Russian violin school. The first chapter is to introduce the main bibliography, the motive and the search process of the thesis. Also it is to make a survey of violin schools, soloists and important violin concertos before Wieniawski. The second chapter is to present the life, works and performance style of Wieniawski. The third chapter goes to discuss Wieniawski Violin Concerto no.2 and analyzes technique he used. The forth chapter is to mainly discuss several teaching ways for Wieniawski Violin Concerto no.2, including the levels of students and solutions of techniques to help different students. The fifth chapter concludes the four chapters above. After Beethoven, the violin concertos developed along three independent lines. One inherits tradition and stressed the musical value, another follows the virtuoso path, and the third is the new type of ¡¥national¡¦ concerto. Wieniawski Violin Concerto no.2 is an important virtuoso work like Concertos of Paganini and Vieuxtemps. Among the virtuoso works, this concerto is one of few works that could combine technique dexterity and music value. Wieniawski Violin Concerto no.2 is the fifth level of the String Syllabus by American String Teacher Association. There are many works in the same Level, like the Concertos no.4 and no.5 by Mozart, the Concertos no.7 and no.9 by Rode, the Concerto no.22 by Viotti, the Concertos ¡¥four seasons¡¦ by Vivaldi, ¡¥Havanaise¡¦ by Saint-saën, ¡¥Devil¡¦s Trill¡¦ by Tartini and so on. Compared with those works in the same level, Wieniawski Concerto no.2 is more difficult in technique. It is a bridge between the fifth and sixth level and a virtuoso violin work.

In the nighteenth century,the Paris Concervatory is the very important musical school and places a key position in France . At that time the Brussels Concervatory also places an important position in Belgium. The characteristic of French Violin School is the beautiful melody, and Belgian Violin School has the brilliant skills of Paganini¡¦s style. Henry Vieuxtemps is the representative of Franco-Belgian Violin School, which are the merge of the above two schools. This study focuses on the background, forms and playing skills of Vieuxtemps¡¦ Concerto No.5 in A minor.

abstract: Playing an orchestral reduction is not always the most joyous of times for pianists. As pianists, we have to express a reduced idea of all the instruments and orchestral textures that are in the full score. However, in many cases, there are often omissions, errors or discrepancies in the existing published reductions. These reductions are made by a variety of people: editors, conductors, pianists, but rarely by the composer, and often do not reflect the composer's true intentions. While many reductions are technically playable, including the reduction of the Sibelius Violin Concerto that will form the basis of this paper, the arrangement of the orchestration can be obscured or inaccurate to the point where the violin soloist may not be receiving the best representation of the actual orchestration. A piano reduction should as closely as possible represent the original intention of the composer, both for the sake of the audience and the performers. The pianist should be able to provide the proper support and orchestration of any reduction for the instrumentalist or vocalist so that the same performance style and technique can be used while performing with either a piano reduction or a full orchestra. This research document contains a detailed examination of the various orchestral reductions of the Sibelius Violin Concerto, culminating in a new version by the author. In this discussion, the author will present a basic understanding of how to orchestrate at the piano through an in-depth explanation of piano skill and technique, practice techniques such as listening to a recorded version of the full orchestration while playing the piano, and ways to study and revise an existing piano reduction. The current published reductions of the Sibelius Violin Concerto contain many errors and discrepancies and will be contrasted with the author's own reduction, available for comparison and study in the appendix. This new revised reduction will clearly show the orchestral instruments represented throughout the score, demonstrate new techniques for various orchestral textures, and will yield a playable product that more closely represents the composer's original intentions. / Dissertation/Thesis / D.M.A. Music 2011

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This study provides an overall view of the significant change in compositional creation and performance practices in the nineteenth century. One witnesses concerto has become an important genre to demonstrate the technical playing of violin. In addition, through various violin schools, violin performances have developed different styles of playing. Bruch was an important German composer in the late romantic period. Although his status is not sublime as Schumann, Mendelssohn and Brahms, his ¡§Violin Concerto No. 1 in G minor Op. 26¡¨ is well received. Among numerous violin concertos in the nineteenth century, the work is regarded as an essential piece for violinist and in fact up to the present the work has been often performed and included in most concert programs. The most significant in Bruch¡¦s music is his employment of different performance techniques together with beautiful violin voicing. He believes ¡§melody is the soul of music¡¨ and demonstrates with his individual performance, and this explains the long lasting character. The value of Bruch¡¦s music is equal fame of the composition well regarded as his contemporaries. This thesis is divided into three chapters. The First chapter discusses about the succession of the violin performance technique, the influences of violin schools on violin music, and elaboration of the violin concerto features. The Second chapter includes Bruch¡¦s life, the historical background of his Op. 26 and its status. The Third chapter focuses on the performance techniques, examine the sophisticated techniques on both right hand and left hand. Its incorporation with orchestra will also be discussed in this chapter. And followed by a conclusion. 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.

abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety. / Dissertation/Thesis / Doctoral Dissertation Music 2019

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Chen Qigang (b. 1951) is one of today's most representative and prolific Chinese composers. His works are regarded as setting a standard of excellence among Chinese composers in the twenty-first century. Like many Chinese composers of his generation, Chen combines in his works the traits of both Chinese traditional music and Western musical language. La joie de la souffrance (The Joy of Suffering) for violin and orchestra, composed for the Shanghai Isaac Stern International Violin Competition in 2016–17, is one of his mature works that not only represents one of the great achievements of fusing Chinese and Western musical languages, but is also a major addition to the venerable tradition of Chinese concertos. By analyzing La joie de la souffrance as the nexus of old and new, East and West, I hope to provide not only insight into a valuable work of the twentieth-century violin concerto repertoire, but also a glimpse into some of the musical influences of a Chinese composer working in France in the late twentieth and early twenty-first centuries. By extension, I hope to shed light on some of the factors, trends, and developments that have influenced Chinese composers in the early twenty-first century.

Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.

In the eighteenth century, the art of violin performance in France was promoted. Until in the nineteenth century, France became the center of art in the Europe, including painting, literary, architecture, and they were developed vigorously. The Paris Conservatory had a key position in music and expanded outward, and the music of Belgium was influenced very much, therefore they are named ¡§Franco-Belgian Violin School.¡¨ And the music is abundant in beautiful melodies and brilliant skills. Henry Vieuxtemps was an important and representative violinist at that period. By the way, his works presented romantic emotion. First chapter in this study presents the development of violin school. The second chapter introduces Vieuxtemps¡¦ position of ¡§Franco-Belgian Violin School,¡¨ the background of his works. The third and fourth chapter, do a research of the form, the interpretation and the performance style of Violin Concerto No.2 in F# minor, op.19. Then a conclusion in the final chapter. Key words¡GFranco-Belgian Violin School¡BVieuxtemps¡BRomantic music¡Bviolin concerto¡Bperformance practice.