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.
|Advisor:||Scott, L. Brett|
|Commitee:||Adams, David, Fiser, Lee|
|School:||University of Cincinnati|
|School Location:||United States -- Ohio|
|Source:||DAI-A 75/02(E), Dissertation Abstracts International|
|Keywords:||Beethoven, Ludwig van, Cello, Germany, Instrumental equality, Sonata|
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