Zugl.: Erfurt, Univ., Diplomarbeit, 2004

Heinrich Ignaz Franz von Biber's (1644--1704) Mystery Sonatas of 1676 are a set of fifteen sonatas for violin and continuo plus one unaccompanied passacaglia for solo violin. They are unusual in their use of scordatura and in the presence of an image associated with the Rosary devotion before each sonata. This association between image and music in the sonatas, and the correspondence to the fifteen mysteries of the Rosary closely resembles the structure of seventeenth-century Rosary picture books. / In this thesis the context, background, and meaning of the sonatas is explored. The first chapter examines the function of the sonatas and places them in context by outlining musical life in Salzburg, the sonata tradition, the Rosary devotion, Emblem books, and Rosary picture books. The second chapter focuses more on the collection as a whole and on elements such as key, dance affect, and scordatura. The third chapter consists of an examination of three sonatas---each one unique in placing the listener in a different relation to the mystery.

Zugl.: Tübingen, Univ., Diss., 2002

No description available.

No description available.

Universiẗat, Diplomarbeit--Erfurt, 2004.

Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven’s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven’s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer’s sense of tempo. By using as many sources on Beethoven’s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.

The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.

Weit vor den Faust-Opern der romantischen Ära schrieb Johann Ignaz Walter seine Oper "Fausts Wanderungen und Höllenfahrt". Kann dieses Werk, später unter neuem Titel überarbeitet, als "erste Faust-Oper" gelten? Diese Arbeit erschließt vorhandene Quellen zu Walters Leben und seinem Opernwerk. Der Waltersche Faust wird inhaltlich und überlieferungsgeschichtlich vorgestellt. So ergibt sich eine Perspektive auf ein Opernwerk, das eine durchaus lohnende Wiederentdeckung für das heutige Opernrepertoire darstellt.

The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.