A Study of Cadenzas From Beethoven’s Five Piano Concertos/Gia-Han Liu piano Ricital

• Main Authors: Gia-han Liu, 劉嘉涵
• Other Authors: Da-Ming,Dzu
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/5vsne3

碩士 === 東吳大學 === 音樂學系 === 96 === <summary> "Cadenza" means an improvisation, or a passage before the end of the concerto, which improvised by the soloist to show the virtuoso of the performer. Ludwig van Beethoven(1770-1827)’s cadenzas have received more critical attention than any others from the classical period. He approach to cadenza-writing was to change considerably in the course of his career until 1809, the year which the “Emperor” concerto was composed, after which he never wrote another cadenza nor did he complete another concerto. Beethoven’s whole approach to the improvisatory genres of cadenza and fantasia, and indeed to the concerto, underwent a crisis at about this time: a crisis which would only be resolved much later, in the synthesis of improvisatory freedom and compositional control which characterized his late works. The aim of this thesis is to analyze the material and construction in these cadenzas, and realize the correlation between cadenza and concerto movement. Beethoven has five piano concertos. All of them inserted ad libitum cadenzas in the first movement, except the fifth piano concerto ---the “Emperor” concerto. This piece is a special case. Beethoven find a new way to present cadenza. The cadenza in the first movement of the “Emperor” concerto appears to resemble closely the pattern discussed above in which an unaccompanied section that is ad libitum or rhapsodic is followed by an accompanied , obbligato section. It is a whole new milestone in composing cadenza. <Recital program> J.S. Bach(1685-1750)： partita no.2 bwv 826 in c minor L.V. Beethoven(1770-1827)： piano sonata op.109 in E Major E. Granados(1867-1916)：Los Requiebros from goyescas A.Scriabin(1872-1915)：sonata-fantasy op.19 F. Liszt(1811-1886)：Rhapsodie Espagnole