THE QUATUOR BRILLANT IN PARIS IN THE LATE EIGHTEENTH AND EARLY NINETEENTH CENTURY: WORKS BY VIRTUOSO VIOLINISTS (R. KREUTZER, P. RODE, AND L. SPOHR)

Jung, Jenny Jungeun

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Description

Title

THE QUATUOR BRILLANT IN PARIS IN THE LATE EIGHTEENTH AND EARLY NINETEENTH CENTURY: WORKS BY VIRTUOSO VIOLINISTS (R. KREUTZER, P. RODE, AND L. SPOHR)

Author(s)

Jung, Jenny Jungeun

Issue Date

2017

Director of Research (if dissertation) or Advisor (if thesis)

Associate Professor Christina Bashford

Doctoral Committee Chair(s)

Associate Professor Christina Bashford

Committee Member(s)

• Professor of Practice Sigurbjorn Bernhardsson, Indiana University, Bloomington
• Professor Charlotte Mattax Moersch
• Professor Sever Tipei

Department of Study

School of Music

Discipline

Music

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

A.Mus.D. (doctoral)

Keyword(s)

• music
• quatuor
• paris
• violin
• kreutzer
• rode
• spohr

Language

en

Abstract

The purpose of this study is to explore the little known genre quatuor brillant during its flourishing at the turn of the nineteenth century in Paris. Although the quatuor brillant is written for four string instruments, and its contribution to the quartet genre is apparent, this repertoire also shares many traits with the nineteenth-century French violin solo repertoires, which contributed greatly to the overall style of violin playing and technique. The question of different approaches to violin playing in the early nineteenth century is a rich area for research. I approached research by analysis of violin technique and notations, which is the substantial part of my study, along with harmonic, rhythmic, and form analyses of selected sections by Kreutzer, Rode, and Spohr to gain a clear view of the role of the first violin and the other three instruments. Of the many aspects of the quatuor brillant that could be discussed, the main focus of this study is the genre’s significant stylistic features in its first movements to the relationship of those features with early-nineteenth-century violin technique, and also aiming to give the modern violinist some advice about how to execute the technical challenges. In my critical edition of the first movements of the quartets, I wanted bring off a historically informed performance practice as much as possible. I am convinced that only through close examination of the bowing and fingering techniques employed by the composer–violinists themselves can one get a real sense of how this music was meant to sound. This study will expose readers to new perspectives on quartet playing at the turn of the nineteenth century in both repertoire and technique.

Type of Resource

text

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