Dissertation committee:
Ιωάννης Φούλιας, αναπληρωτής καθηγητής (επιβλέπων)
Μάρκος Τσέτσος, καθηγητής (μέλος συμβουλευτικής επιτροπής)
Γιώργος Φιτσιώρης, αναπληρωτής καθηγητής (μέλος συμβουλευτικής επιτροπής)
Κώστας Τσούγκρας, αναπληρωτής καθηγητής Τμήματος Μουσικών Σπουδών Α.Π.Θ.
Κώστας Χάρδας, αναπληρωτής καθηγητής Τμήματος Μουσικών Σπουδών Α.Π.Θ.
Μηνάς Ι. Αλεξιάδης, καθηγητής
Ιάκωβος Σταϊνχάουερ, επίκουρος καθηγητής
Original Title:
«Η σονάτα για πιάνο στον ύστερο ρομαντισμό (1848-1914): Συστηματική προσέγγιση του ρεπερτορίου, με έμφαση στην ανάδειξη των ιδιαίτερων χαρακτηριστικών του είδους και της εξελικτικής διαμόρφωσης των μορφολογικών προτύπων»
Translated title:
The piano sonata in late romanticism (1848-1914): A systematic approach of the repertoire, with emphasis on the demonstration of the distinctive characteristics of the genre and the evolutionary development of the formal templates
Summary:
This dissertation concerns the genre of the piano sonata, as it was cultivated by the composers who were active in the period 1848-1914, i. e. in the late romantic era. With regard to the repertoire that we examine, beyond the obvious choices, namely the works that remain in the repertoire of most concert pianists, we have also located and added works which are less familiar to the musical and scientific audience. This category includes, on the one hand, composers for which the composition of piano sonatas remained merely occasional, while, on the other hand, the most interesting aspect of the chosen repertoire concerns those composers that have been considered as minor artists in the context of current musicological research and artistic evaluation, despite the fact that in their own era they were considered to be comparable to or even better than those of their contemporaries who were lucky enough to remain in public memory. The foremost inquiry of the research regards the manner in which the well-known and established forms (in combination with a certain amount of less popular formal schemes) are implemented in the individual movements of the examined sonatas, they define them, and are in turn defined, being thus shaped anew in the context of the aforementioned genre in our reference period. Of major importance is the comparison with the traditional versions of these forms, so that we can demonstrate in the clearest possible manner the frequency and style of their usage in the different movements that constitute a complete work in the sonata genre, along with their evolution in the course of several decades. In this way, we reach comprehensive, inductive conclusions for movements written in three-part sonata form, in sonata form without development, in two-part sonata form or sonata-rondo, in various minuet or scherzo forms, in three-part form, in diverse versions of rondo and rondo-sonata form, in variation form, as well as in other, distinct forms. In addition, we reach conclusions regarding the evolutionary development of the piano sonata genre, relating both to its external features, i. e. the number and character of movements and the tonal relations between them, and to the greater or lesser importance of the aforementioned forms for the construction of every movement. Furthermore, we examine the programmatic or descriptive connotations, which turn up in increasing frequency in this period, and also the internal cyclical relations between the individual movements of a sonata, a trait that is equally a principal characteristic of 19th century music.
Keywords:
sonata, piano, romanticism, late, form
