Techniques of expression in Viennese string music (1780-1830) : reconstructing fingering and bowing practices. Moran, J. G. Ph.D. Thesis, University of London, 2000.
abstract   bibtex   
Though Viennese classical music for strings is central to the standard repertory and is steadily attracting more performances by 'historically informed' players, awareness of the practices of the Viennese players amongst whom Haydn and Beethoven worked remains limited. Studies of the string playing practices ostensibly appropriate to Beethoven have generally been based on instrumental treatises representative of other traditions, either later in time or geographically remote. This thesis attempts to reconstruct the unique traits of the fingering and bowing practices surrounding Haydn and Beethoven in Vienna through the surviving evidence most closely connected with them and the players for whom they composed. The sources include Haydn's and Beethoven's string fingerings and slurs; the music of players with whom these composers were associated, including Krumpholz, Wranitzky, Schuppanzigh, Mayseder, the Krafts, and Linke; and the rarely considered technical studies and string treatises of Vienna, including those by Kauer, Pith!, Pirlinger, and Schweigl. This thesis begins with a survey of the string players in the circles of Haydn, Mozart, Schubert, and especially Beethoven, discussing their significance and playing styles, contrasting Viennese practices with the more progressive approaches of Paris. The diversity of Viennese fingering practices forms the basis for the second chapter's examination of the wealth of information which can be conveyed by apparently simple fingerings. Haydn's and Beethoven's original fingerings, together accounting for approximately three hundred passages, are the subjects of chapters three and four. The fifth chapter considers tone production and the myth of the 'phrasing' slur in string writing, while the sixth is an investigation of what constituted the basic repertory of bow strokes. The final chapter, a case study of a set of marked parts to Beethoven's op. 59, no. 3 quartet, shows how the various methods of reconstruction developed in this thesis can be brought together in the context of a complete work.
@PhDThesis{        moran2000-techniques,
    author       = {Moran, John Gregory},
    year         = {2000},
    title        = {Techniques of expression in Viennese string music
                   (1780-1830) : reconstructing fingering and bowing
                   practices},
    abstract     = {Though Viennese classical music for strings is central to
                   the standard repertory and is steadily attracting more
                   performances by 'historically informed' players, awareness
                   of the practices of the Viennese players amongst whom
                   Haydn and Beethoven worked remains limited. Studies of the
                   string playing practices ostensibly appropriate to
                   Beethoven have generally been based on instrumental
                   treatises representative of other traditions, either later
                   in time or geographically remote. This thesis attempts to
                   reconstruct the unique traits of the fingering and bowing
                   practices surrounding Haydn and Beethoven in Vienna
                   through the surviving evidence most closely connected with
                   them and the players for whom they composed. The sources
                   include Haydn's and Beethoven's string fingerings and
                   slurs; the music of players with whom these composers were
                   associated, including Krumpholz, Wranitzky, Schuppanzigh,
                   Mayseder, the Krafts, and Linke; and the rarely considered
                   technical studies and string treatises of Vienna,
                   including those by Kauer, Pith!, Pirlinger, and Schweigl.
                   This thesis begins with a survey of the string players in
                   the circles of Haydn, Mozart, Schubert, and especially
                   Beethoven, discussing their significance and playing
                   styles, contrasting Viennese practices with the more
                   progressive approaches of Paris. The diversity of Viennese
                   fingering practices forms the basis for the second
                   chapter's examination of the wealth of information which
                   can be conveyed by apparently simple fingerings. Haydn's
                   and Beethoven's original fingerings, together accounting
                   for approximately three hundred passages, are the subjects
                   of chapters three and four. The fifth chapter considers
                   tone production and the myth of the 'phrasing' slur in
                   string writing, while the sixth is an investigation of
                   what constituted the basic repertory of bow strokes. The
                   final chapter, a case study of a set of marked parts to
                   Beethoven's op. 59, no. 3 quartet, shows how the various
                   methods of reconstruction developed in this thesis can be
                   brought together in the context of a complete work.},
    keywords     = {music performance},
    mendeley-tags= {music performance},
    school       = {University of London},
    type         = {Ph.D. Thesis}
}
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