Beethoven’s musical descendants, such as Carl Czerny, Franz Liszt, Hans von Bülow (Bülow), and Artur Schnabel, realizing that Beethoven’s music needed more directions, published their own Beethoven sonata editions. Czerny and Liszt tried to retain as much of Beethoven’s manuscript as possible in their editions, but later pianist editors such as Bülow and Schnabel boldly added many indications. Bülow’s Beethoven Sonata edition, which was admired by Liszt and was used by Liszt to teach his pupils in his later years, acquired some notoriety among serious pianists and piano students. The reasons for this notoriety were two-fold. First, Bülow’s additions and alterations were believed to be his own interpretations. Second, Bülow’s Beethoven Sonata edition, which is still in print today contains many misprints. The distinction between these two issues is the focus of this dissertation. In this study, I examine the issue of Bülow’s alterations by extensively researching the following accounts: seven historical sources including Beethoven’s manuscripts and early editions; nine editions edited by Beethoven’s musical descendants, Beethoven scholars and musicologists; and three historical recordings created by Beethoven’s musical descendants. This dissertation compares these accounts with Bülow’s edition, particularly the Allegro movement of Beethoven Sonata Op. 111. The comparative study in this dissertation sheds light on Beethoven’s intent for his composition and clarifies whether Bülow’s alterations in his edition were based on his own interpretation, reflect what he learned from Liszt—a close musical descendant of Beethoven, or are simply misprints.

I detta arbete har jag studerat Ludwig van Beethovens sju variationer i Ess-dur för cello och piano över ett tema från Trollflöjten. Jag har analyserat stycket och fördjupat mig i de karaktärsmässiga kontraster jag önskar förtydliga inför min examenskonsert den 29 maj 2024. Under min instudering med pianist har jag utvecklat min förståelse av samspel, musikalitet och tolkningssätt som verktyg till personligt uttryck. / <p>Ludwig van Beethoven – Sju variationer i Ess-dur över ett tema ur Tröllflöjten</p><p>Carin Malmlöf-Forssling – Lalendo</p><p>Claude Debussy – Cellosonat i d-moll</p><p>Dimitri Kabalevsky – Cellokonsert no. 1 i g-moll, sats II, Largo</p><p>Piano: Georg Öquist</p>

Notre thèse présente et analyse la vie et l’œuvre de Ceri Richards (1903-1971), artiste peintre britannique d’origine galloise, dont l’art est profondément influencé par la musique. Mélomane et pianiste amateur, Richards développe son art de façon très indépendante et marque l’art britannique par une originalité commentée et appréciée des critiques d’art londoniens de son temps, « ce qui le [classe] comme l’un des plus grands parmi les peintres britanniques du milieu du XXe siècle » (Bénézit). C’est après la Seconde Guerre mondiale que les références musicales apparaissent avec plus d’importance dans son travail artistique dont la série des Cathédrales englouties (v. 1957-1967), inspirée du prélude éponyme de Claude Debussy, est unanimement reconnue.La première partie de la thèse est une biographie revue et augmentée de Ceri Richards en suivant le fil conducteur de la musique. Elle s’appuie sur des sources, notamment épistolaires, jamais dévoilées jusqu’à présent et des articles sur l’artiste non encore exploités.La troisième partie est un catalogue raisonné de l’œuvre de Ceri Richards en rapport avec la musique. Notre classement, aussi exhaustif que possible à ce jour, établit huit grandes thématiques : le piano et les pianistes, Claude Debussy, Ludwig van Beethoven, les décors et les costumes d’opéras, la musique dans la poésie, les illustrations réalisées pour une Histoire de la musique écrite par Benjamin Britten et Imogen Holst, les illustrations d’ouvrages non musicaux et enfin d’autres thématiques musicales diverses. Ce travail de recensement et de catalogage, le premier jamais réalisé, souligne l’étendue et la diversité de l’inspiration musicale de Ceri Richards. / My thesis dissertation presents and analyses the life and work of Ceri Richards (1903-1971), a British painter originally from Wales. His art is profoundly influenced by music. As a music lover and pianist, Richards was particularly appreciated by London critics of his time who “placed him as one of the highest ranking, mid-20th-century British Painter” (E. Bénézit, Dictionary of Artists, Paris, Gründ, 2006). After the Second World War, the musical references are much more visible and important in his painting. His Cathédrale engloutie series, which was inspired by the eponymous Prelude by Debussy, is unanimously praised.The first part of my thesis is a biography of Ceri Richards, based on the importance of the music in his life. It relies on sources, letters unknown until now and articles about the artist never before explored.The second part investigates two corpus: the first one inspired by Debussy’s Cathédrale engloutie and the second by Beethoven in a comparative analysis.The third part is a catalogue raisonné of the work in relation with music. The organisation is in eight thematics: piano and pianists, Claude Debussy, Ludwig van Beethoven, opera stage decor and costumes, music in the poetry, illustrations realised for The Story of Music written by Benjamin Britten and Imogen Holst, illustrations for books which are not musical and other diverse musical themes. This catalogue raisonné is the first one and shows the extent and diversity of Ceri Richards’s musical inspiration.

This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.

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Beethoven's rich compositional language evokes unique problems that have fueled scholarly dialogue for many years. My analyses focus on two types of paradoxes as central compositional problems in some of Beethoven's symphonic pieces and piano sonatas. My readings of Beethoven's Piano Sonata No. 27 (Op. 90), Symphony No. 4 (Op. 60), and Symphony No. 8 (Op. 93) explore the nature and significance of paradoxical unresolved six-four chords and their impact on tonal structure. I consider formal-tonal paradoxes in Beethoven's Tempest Sonata (Op. 31, No. 2), Ninth Symphony (Op. 125), and Overture die Weihe des Hauses (Op. 124). Movements that evoke formal-tonal paradoxes retain the structural framework of a paradigmatic interrupted structure, but contain unique voice-leading features that superimpose an undivided structure on top of the "residual" interrupted structure. Carl Schachter's observations about "genuine double meaning" and his arguments about the interplay between design and tonal structure in "Either/Or" establish the foundation for my analytical approach to paradox. Timothy Jackson's reading of Brahms' "Immer leiser word meine Schlummer" (Op. 105, No. 2) and Stephen Slottow's "Von einem Kunstler: Shapes in the Clouds" both clarify the methodology employed here. My interpretation of paradox involves more than just a slight contradiction between two Schenkerian readings; it involves fundamentally opposed readings, that both result from valid, logical lines of analytical reasoning. In my view, paradoxes could be considered a central part of Beethoven's persona and philosophy. Beethoven's romantic endeavors and his relationships with mentors suggest that paradoxes might have been central to his bravura. Furthermore, Beethoven's familiarity with the politics of the French Revolution and Shakespearean literature suggest that paradoxes in some pieces (including the Ninth Symphony) could be metaphorical representations of his ideology. However, I do not attempt to explicitly link specific style features to extra-musical ideas. Modern Schenkerian scholars continue to expand and refine Schenker's formal-tonal models as well as his concept of interruption. In my view, by considering paradox as a focal compositional problem, we can better understand some of the formal-tonal issues and shifting allegiances in Beethoven's music and take another step beyond the rigidity of some paradigmatic formal-tonal prototypes.

Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / This Master’s Report is a study of four piano compositions performed on April 10, 2016 at the author’s Master’s Piano Recital. These discussed pieces are including Johann Sebastian Bach’s Toccata in G major, BWV 916; Ludwig van Beethoven’s Sonata in E-flat major, Op. 31, No. 3; Claude Debussy’s Images Book One; Fryderyk Chopin’s Scherzo No. 2, Op. 31. This study focus on historical, theoretical and stylistic implications of each composition.

Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome. / Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section.

The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.