César Franck's sonata for violin and piano in A Major of 1886 is one of his last and one of his most prominent works. It has for long been one of my favourite works and I chose it for my Bachelor exam. It is a good example for the cyclic form used by various composers in the 19th century. Since the beginning, the tempo and character of the first movement have been discussed amongst musicians and scholars. Also, D'Indy, one of Franck’sstudents, analysed the themes and motives of the Sonata, which has raised discussions. The purpose of my essay is to analyse these discussions and to see whether the knowledge of this background and these discussions has helped me personally in my approach to the Sonatawhen I practiced itand whether it has influenced me in my interpretation. For this purpose, I used sheet music, literature and recordings.In summary, the knowledge of the background and of the discussions has helped me a lot to get a better access to the Sonata and thus influenced my interpretation. Without this knowledge, I would certainly not have come to such a deep and thorough understanding of the Sonata / <p>Besides the Sonata for Violin and Piano by César Franck, which I played together with Anna Christensson, I played the Solo Sonata no. 3 by Eugène Ysaÿe and Passacaglia by Johan Halvorsen together with Emma Alrikson.</p>

The lecture recital was given on March 1, 1982. The subject was the History of the Fantasia Until 1735 Together with Performances of Fantasias No. 1, 3, and 8 from the Twelve Fantasias for Unaccompanied Violin by Georg Phillipp Telemann, and it included a brief survey of fantasia composition from the sixteenth century until 1735, comments on solo violin forms of the period, observations relative to performance practices of Baroque music, which were followed by detailed descriptions of Fantasias N. 1, 3, and 8. The lecture was followed by uninterrupted performances of these fantasias.

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Den 26:e november 1944 uruppfördes Béla Bartóks sonat för soloviolin, en sonat som verkligen visar vad det innebär att spela violin. Med sina fyra kontrasterande satser tar den oss från g-moll till G-dur under loppet av knappt 30 minuter. Däremellan får man, om framförandet går som planerat, höra mer eller mindre alla toner och klanger som går att spela på en fiol. I detta konstnärliga examensarbete har jag undersökt styckets uppbyggnad, koppling till folkmusiken samt hur man som violinist kan tolka det på bästa sätt. Med hjälp av källor i form av böcker, artiklar samt noter från andra verk av såväl Bartók som andra tonsättare har jag kunnat identifiera de musikaliska byggstenar som behövs för att kunna spela solosonaten på ett intressant sätt. / <p><strong>Den klingande delen är arkiverad.</strong></p>

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Print portion available via link; print score has not been digitized but is available for consultation in McGill University Library's Rare Books and Special Collections (ROAAR)

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