The Viennese violone : A "Viennoiserie" with 5 spices
(2023)
author(s): Isaline Leloup
published in: KC Research Portal
This research examines if the Viennese tuning was used in the orchestral works of Beethoven, Schubert, and Mendelssohn and whether it is possible to link the composers and the use of this tuning in their writing style for the 16’ instrument.
The Viennese tuned violone is a particular 5-stringed 16’ fretted instrument tuned to “F, A, d, f#, a”. This instrument appeared in the region of Lower-Austria and Moravia in the late 17th century and was played until the middle of the 19th century. Considered a member of the viola da gamba family by its name “violone”, it also has similarities in its thirds and fourths tuning, flat back, sloping shoulders, and frets.
I have found no clear evidence of a date, or of a composer, who made specific use of Viennese tuning in orchestras after the solos of Haydn's six symphonies. The Viennese tuning disappeared progressively towards the middle of the 19th century. The last clear evidence we found in the music is Beethoven’s Septet op. 20, the first performance of Beethoven’s 1st symphony, and Schubert’s Trout quintet. We also have the performance on 2nd November 1800 of Sperger’s last symphony “Erbprinzessin-sinfonie”. We also know that instruments of this tuning were built until at least 1820. For Mendelssohn, analysis of his works has shown that its classical characteristics come out clearer with the Viennese tuning. This research is done in the form of an exposition to highlight the musical extracts of the different composers.
Towards an integrated method for practicing: internalizing the composer’s language.
(2019)
author(s): Pim Witvrouw
published in: KC Research Portal
Name
Pim Witvrouw
Main Subject
Music Theory
Supervisors
Paul Scheepers / David Kuijken
Title of Research
Towards an integrated method for practicing: internalizing the composer’s language
Research Question
In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes?
Summary of Results
Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together.
Biography
Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.
To be melodramatic: Writing a text to music according to the melodramatic tradition
(2017)
author(s): Yotam Gaton
published in: KC Research Portal
Name: Yotam Gaton
Main Subject: Baroque Violin
Research Supervisor: Bart van Oort
Title of Research: Writing a text to music to be performed as done in Melodramas
Research Question: What are the different ways in which text and music are put together in the Romantic Melodramas?
Summary of Results:
I use examples from compositions of the early Romantics until those of the end of the 19th century. Ways to treat the fusion of text and music, as can be seen from the literature, are presented in the story that I wrote, a story that is meant to be narrated with early Romantic music. The Melodrama that developed in the 70s' of the 18th century, although disregarded by some critics, became - mostly in the Germanic countries, a popular genre, used by composers from Benda through Mozart and Beethoven, to Liszt and Humperdinck.
In a world that constantly looked for musical innovations, melodrama gave a new meaning for that primary connection of music and text. So how is this text-music relation kept? Are there clear principals in composing music to recited text as can be learned from Melodramas in the Romantic period?
Representative melodramas by early and late romantic composers are discussed.
The Melodrama developed due to changes in the artistic approach to the fusion of music and text. From its early days of Rousseau and Benda and the autonomy they sought to give to each art, to the complete immersion and fusion of the two in the Melodramas of Schuman, Liszt and Humperdinck, highlighting the qualities of both arts.
The core of this work is my own intake on Melodrama. I brought examples from the story that I wrote for different fusions of recited text and music. Unlike Melodramas where music is written to text, here the process is reversed and text was written to music.
Biography:
Yotam Gaton was chamber music oriented from an early age, performing as concertmaster and principal second violin with Israel’s finest chamber ensembles.
Yotam joined the IDF and served as the leader and first violinist of the IDF string quartet where he wrote and performed series of lecture concerts.
Former member and concertmaster of the European Union Baroque Orchestra, Yotam played with renowned ensembles such as Les Arts Florissants and performed in Europe's most important Early Music festivals. Both as a soloist and a group member, he collaborated with some of the greatest Early Music artists such as Frans Brüggen, Masaaki Suzuki, William Christie, Lars Ulrik Mortensen and Rachel Podger.
Two Viennese piano schools: Beethoven and Hummel
(last edited: 2019)
author(s): Petra Somlai
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Two Viennese piano schools:
Beethoven and Hummel