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

Dissertation (MMus (Performing Arts))--University of Pretoria, 2005. / Music / unrestricted

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Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.

Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The following piece is comprised of one long movement lasting approximately fifteen minutes and is scored for a violin soloist and a chamber orchestra. Initially conceived as a concerto, the work explores the interactivity between the soloist and the ensemble as well as general concepts such as alignment, transition, contrast and harmonic tension. The title refers to a personal struggle to both do away with greyness in harmony and musical surfaces, as well as to integrate grey areas as alternative solutions to a more dichotomous view of both music and human life. / 2031-01-01

Thesis (M. M.)--Boston University, 1980.

Violin repertoire composed in the late twentieth and early twenty-first centuries placed new demands on performers. While numerous pedagogues have written etudes and treatises analyzing traditional techniques, far fewer have thoroughly examined contemporary techniques. Many of the existing etudes and exercises inspired by contemporary violin repertoire are of a very high difficulty level and may seem unapproachable to students with little to no experience performing the music of recent decades. As a result, many violin students are unacquainted with the language of new music. This dissertation is intended to help fill a gap in the pedagogical literature by serving as a resource that familiarizes advanced students with the notation and proper execution of the non-traditional techniques commonly found in contemporary violin music. This document includes a survey of violin repertoire written since 1970, an analysis of the non-traditional techniques used most often in the works examined, methods for approaching specific technical problems that arise in them, and nine etudes originally composed by this author. The etudes focus on nine contemporary techniques, ranging from contact point variations to changing subdivisions, and are intended for study by advanced violinists interested in performing contemporary music.

AbstractHungarian violinists have been influencing the classical music world for centuries, and the lineage of great artists worldwide can often be traced back to Hungarian violinists. Jenö Hubay has been the person who brought this tradition worldwide; his reputation and renown have elevated the Hungarian violin school to the point where it is considered equally as prominent as the other famous schools (German, French or Russian violin school traditions). This dissertation aims to give an overall picture of Hungary historically, how the violin tradition developed through the centuries, and how it has influenced later generations of musicians. The dissertation will first give a brief historical background of Europe in the 19th century. After this first introductory chapter, the dissertation will explore the predecessors of Hubay. Then, the life of Hubay will be examined, from his student years until his mature age. The chapter to follow will discuss his successful teaching, violin method and philosophy. Hubay was known for his detailed approach to teaching the violin, starting from the very basics of posture leading to the complex technical challenges of the left and right hands. Then, the dissertation will discuss how influential Hubay is as a person in Hungary. Finally, the international legacy of the Hubay school will be examined through his successful students. / Music Performance

This is a sonata in four movements for violin and piano. Since certain thematic or accompanimental statements relate the four movements to each other, the sonata may be considered a cyclic work. The four movements are balanced stylistically, rhythmically, and tonally, with the first movement related to the third, and second to the fourth. Movements I and III are characterized bu "traditional" form and content, while II and IV are improvisatory in character.

The lecture recital was given June 29, 1976. The subject was the History of the Violin Scordatura, and it included an historical survey of scordatura compositions along with discussions of the problems of notation and hints for solving the practical problems of performance. Works by Biber, Vivaldi, and Nardini were performed at appropriate moments during the lecture. In addition to the lecture recital, three other public recitals were performed: The first solo recital was on April 15, 1974 and included works of Albinoni, Copland, and Beethoven. The second program, a chamber music recital on January 19, 1975, featured works for piano trio by Haydn, Copland, and Arensky. The third recital was presented on April 14, 19 75 and included works by Vitali, Prokofiev, and Grieg. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.