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Dissertation/Thesis Abstract

A New Vision for the Genre: The Five Cello Sonatas of Ludwig van Beethoven and the Striving Towards Instrumental Equality
by Yun, Mi Yeon, D.M.A., University of Cincinnati, 2013, 66; 3599334
Abstract (Summary)

Mainstream scholarship teaches that Beethoven's five cello sonatas follow his progression as a composer. The Op. 5 sonatas are considered to belong to the Classical tradition of keyboard domination and cello subordination, and the Op. 69 sonata is held as an important transitional work in which the cello and the piano are first treated as equals. The Op. 102 sonatas, appearing in Beethoven's increasingly chromatic and contrapuntal late period, further integrate the cello into the music making, but many scholars see the cello here as more of an independent voice than a matching partner. A closer look at the sonatas reveals a composer who was more consistent in his thinking. This document will study the relationship between the cello and the piano in each of the five cello sonatas of Ludwig van Beethoven and demonstrate that the equal treatment of both instruments, so widely praised in the Op. 69 sonata, is present in all five works.

Indexing (document details)
Advisor: Scott, L. Brett
Commitee: Adams, David, Fiser, Lee
School: University of Cincinnati
Department: Violoncello
School Location: United States -- Ohio
Source: DAI-A 75/02(E), Dissertation Abstracts International
Subjects: Music
Keywords: Beethoven, Ludwig van, Cello, Germany, Instrumental equality, Sonata
Publication Number: 3599334
ISBN: 978-1-303-48506-0
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