Doctor of Musical Arts (DMA)
Ludwig von Beethoven (1770-1827) dedicated the Sonata No. 10, Op. 96 for Piano and Violin in G Major (1812) to Pierre Rode ( 1774-1830), one of the French School violinists who had impacts on Beethoven’s composition in violin style and technique. To be noted that Giovanni Battista Viotti (1755-1824) , the founder of the French Violin School and the father of modern violin playing, was one of the great Italian violinists who immigrated to France and lived in a transitional era for the standardization of violin and bow. The piano during Beethoven’s lifetime was almost developing into the modern form which went through a transition as well. By considering the work’s historical background, development of the sonata, its formal structure, performance practice issues, and experts’ opinions, I hope that this document can help violinists to achieve an informed and high artistic level of performance. Chapter 1: the piano and violin around Beethoven’s lifetime contains three sections. First, Beethoven’s performance style and the piano. Second, the violin schools and instrument remodeling. Third, remarks on Beethoven’s sonatas for piano and violin. Chapter 2: Sonata No. 10, Op. 96 for Piano and Violin in G Major contains two sections with a conclusion. First, selected topics concerning style and technique. Second, background information and formal/ interpretive analysis. Despite diverse standards of beauty, changing style and modifying techniques, I propose that ultimately a refined rendition of Beethoven's Sonata Op. 96 can be enriched by historical, formal and performance practice studies.
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Lin, Cheng-Yin, "Beethoven Sonata No. 10, Op. 96 for piano and violin in G major (1812) : looking ahead" (2013). LSU Doctoral Dissertations. 2891.