The piano and violin and piano and cello sonatas of Brahms : a study of selected recordings
type: CreativeWork
description: This dissertation is concerned with a comparative study of selected recordings of Brahms's sonatas for piano and violin and for piano and cello. The introduction establishes guidelines which are essential when interpreting Brahms's works. It highlights the fact that Brahms was a neoclassicist and points out his typical "fingerprints" which occur throughout the works. In chapters 1 - 5 selected recordings of the three piano and violin and the two piano and cello sonatas are discussed. An Urtext is always consulted. Each of the chapters starts with a brief historical background for a specific sonata. This is followed by discussion and comparison of the tempi chosen by the performers and their faithfulness to articulation, dynamic and pedalling indications. Where relevant, balance between the instruments, phrasing, rhythmic inaccuracies and the execution of mood changes are also discussed. Each of these chapters ends with a brief summary. The conclusion is drawn after chapter 5 that surprisingly few of these internationally acclaimed performers obseNed and executed Brahms's indications accurately and/or consistently. Thus, although these performances are generally of a high standard, the end result is often far removed from what Brahms seems to have intended. Possible reasons are stated for why Brahms's indications seem to have been "ignored".
abstract: This dissertation is concerned with a comparative study of selected recordings of Brahms's sonatas for piano and violin and for piano and cello. The introduction establishes guidelines which are essential when interpreting Brahms's works. It highlights the fact that Brahms was a neoclassicist and points out his typical "fingerprints" which occur throughout the works. In chapters 1 - 5 selected recordings of the three piano and violin and the two piano and cello sonatas are discussed. An Urtext is always consulted. Each of the chapters starts with a brief historical background for a specific sonata. This is followed by discussion and comparison of the tempi chosen by the performers and their faithfulness to articulation, dynamic and pedalling indications. Where relevant, balance between the instruments, phrasing, rhythmic inaccuracies and the execution of mood changes are also discussed. Each of these chapters ends with a brief summary. The conclusion is drawn after chapter 5 that surprisingly few of these internationally acclaimed performers obseNed and executed Brahms's indications accurately and/or consistently. Thus, although these performances are generally of a high standard, the end result is often far removed from what Brahms seems to have intended. Possible reasons are stated for why Brahms's indications seem to have been "ignored".
author: Fourie, Hanlie
keywords: Music
date published: 1994
date modified: 2026-07-22T22:23:01Z
provider: University of Cape Town
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: College of Music

PropertyValue
property ID: Handle
value: http://hdl.handle.net/11427/40083