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Das Freispiel : onderzoek naar de viooltechniek in de negentiende, toegepast op het Duitse repertoire

Ann Cnop (UGent)
(2019)
Author
Promoter
(UGent) and Alessandro Moccia
Organization
Abstract
The aim of this doctoral thesis is to form a comprehensive picture of the various aspects of violin technique of German-speaking areas of Europe in the 19th century and to integrate these pragmatically into performance practice. Comprehensive research of the various violin methods, early 20th-century recordings, and annotated editions of scores are tested against performance practice. These scores, as annotated by violinists, are valuable historical resources that contain a wealth of information regarding performance practice of the period. Also investigated is the question of whether it is possible to delineate a genuine German violin school and, if so, how it may be distinguished from the Parisian violin school that originated at the end of the 18th century. The practical outcome of this thesis includes a CD recording of various sonatas for violin and piano including works by Beethoven, Schubert, Mendelssohn, Schumann and Brahms, as also a recording on DVD of Mendelssohn’s violin concerto in e minor. The point of departure for this research is an analysis of how the basic positions of the 18th and 19th-century violinists evolved during this period. This should help in answering the question of when the violin was first gripped between the chin and the left clavicle (chin-off to chin -on) and what the consequences were of this evolution for various aspects of the violin technique. Furthermore, chin and shoulder pads were put into use as a critical step in the search for a more stable position of the violin. The 19th-century implementation of techniques using the left hand (such as position changes, portamento, vibrato and typical fingerings) are mapped. For the right hand, the various arch articulations such as détaché, staccato, martelé, and sautillé are also examined. Various historical sources show that various technical strategies were used by 19th- century violinists to arrive at the best expression of the rhetoric of the compositions of the time. Chin and shoulder pads only came into use in the last decades of the 19th century. The pursuit of the most comfortable position to make contact with the strings ix of the violin resulted in a position change technique, in which left thumb and other fingers operated independently of each other. The correct execution of portamento, which was an intrinsic part of 19th-century execution practice, can only be achieved if the position-change technique is applied precisely. From annotated editions of the 19th- century, it appears that in terms of articulations violinists have not always stayed true to the first editions of the scores. Extra legato arches and short articulations were often added. In terms of bowing, one can speak of a German tradition. In this tradition, bowing in which the bow does not leave the string occurred more often.
Keywords
viooltechniek, negentiende eeuw, uitvoeringspraktijk

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Citation

Please use this url to cite or link to this publication:

Chicago
Cnop, Ann. 2019. “Das Freispiel : Onderzoek Naar De Viooltechniek in De Negentiende, Toegepast Op Het Duitse Repertoire”. Gent.
APA
Cnop, A. (2019). Das Freispiel : onderzoek naar de viooltechniek in de negentiende, toegepast op het Duitse repertoire. Gent.
Vancouver
1.
Cnop A. Das Freispiel : onderzoek naar de viooltechniek in de negentiende, toegepast op het Duitse repertoire. [Gent]; 2019.
MLA
Cnop, Ann. “Das Freispiel : Onderzoek Naar De Viooltechniek in De Negentiende, Toegepast Op Het Duitse Repertoire.” 2019 : n. pag. Print.
@phdthesis{8626091,
  abstract     = {The aim of this doctoral thesis is to form a comprehensive picture of the various aspects of violin technique of German-speaking areas of Europe in the 19th century and to integrate these pragmatically into performance practice. Comprehensive research of the various violin methods, early 20th-century recordings, and annotated editions of scores are tested against performance practice. These scores, as annotated by violinists, are valuable historical resources that contain a wealth of information regarding performance practice of the period. Also investigated is the question of whether it is possible to delineate a genuine German violin school and, if so, how it may be distinguished from the Parisian violin school that originated at the end of the 18th century. The practical outcome of this thesis includes a CD recording of various sonatas for violin and piano including works by Beethoven, Schubert, Mendelssohn, Schumann and Brahms, as also a recording on DVD of Mendelssohn’s violin concerto in e minor.
The point of departure for this research is an analysis of how the basic positions of the 18th and 19th-century violinists evolved during this period. This should help in answering the question of when the violin was first gripped between the chin and the left clavicle (chin-off to chin -on) and what the consequences were of this evolution for various aspects of the violin technique.
Furthermore, chin and shoulder pads were put into use as a critical step in the search for a more stable position of the violin. The 19th-century implementation of techniques using the left hand (such as position changes, portamento, vibrato and typical fingerings) are mapped. For the right hand, the various arch articulations such as détaché, staccato, martelé, and sautillé are also examined.
Various historical sources show that various technical strategies were used by 19th- century violinists to arrive at the best expression of the rhetoric of the compositions of the time. Chin and shoulder pads only came into use in the last decades of the 19th century. The pursuit of the most comfortable position to make contact with the strings
ix
of the violin resulted in a position change technique, in which left thumb and other fingers operated independently of each other. The correct execution of portamento, which was an intrinsic part of 19th-century execution practice, can only be achieved if the position-change technique is applied precisely. From annotated editions of the 19th- century, it appears that in terms of articulations violinists have not always stayed true to the first editions of the scores. Extra legato arches and short articulations were often added. In terms of bowing, one can speak of a German tradition. In this tradition, bowing in which the bow does not leave the string occurred more often.},
  author       = {Cnop, Ann},
  keywords     = {viooltechniek,negentiende eeuw,uitvoeringspraktijk},
  language     = {eng},
  pages        = {245},
  school       = {Ghent University},
  title        = {Das Freispiel : onderzoek naar de viooltechniek in de negentiende, toegepast op het Duitse repertoire},
  url          = {www.anncnop.com},
  year         = {2019},
}