Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar
| dc.contributor.advisor | Fan, Paula | en_US |
| dc.contributor.author | Choi, Kyungsun | |
| dc.creator | Choi, Kyungsun | en_US |
| dc.date.accessioned | 2015-03-27T20:44:38Z | |
| dc.date.available | 2015-03-27T20:44:38Z | |
| dc.date.issued | 2015 | |
| dc.identifier.uri | http://hdl.handle.net/10150/347231 | |
| dc.description.abstract | Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works. | |
| dc.language.iso | en_US | en |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | German Classicism | en_US |
| dc.subject | German Romanticism | en_US |
| dc.subject | Stenhammar | en_US |
| dc.subject | Wilhelm | en_US |
| dc.subject | Swedish Nationalism | en_US |
| dc.subject | Music | en_US |
| dc.subject | Chamber music | en_US |
| dc.title | Swedish Nationalism and German Classicism and Romanticism in the Works for Piano and Strings of Wilhelm Stenhammar | en_US |
| dc.type | text | en |
| dc.type | Electronic Dissertation | en |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | doctoral | en_US |
| dc.contributor.committeemember | Fan, Paula | en_US |
| dc.contributor.committeemember | Gibson, Tannis | en_US |
| dc.contributor.committeemember | Zdechlik, Lisa | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.discipline | Music | en_US |
| thesis.degree.name | D.M.A. | en_US |
| refterms.dateFOA | 2018-08-13T16:36:10Z | |
| html.description.abstract | Unlike the eminent Nordic composers Edward Grieg, Jean Sibelius, and Carl Nielsen, Swedish composer Wilhelm Stenhammar (1871-1927) and his compositions have been long forgotten. However, the composer and his works are gradually being recognized through an increase in performances, recordings, and research. This paper discusses Stenhammar's three early chamber works for piano and strings, Allegro brillante for Piano Quartet in E-flat Major (1891), Allegro non tanto for Piano Trio in A Major (1895), and Sonata for Violin and Piano in A Minor, op. 19 (1899-1990) in search of the elements of German Classicism, German Romanticism, and Swedish Nationalism, that define his mature style. Although these works might be considered to be juvenilia lacking any of Stenhammar's distinguishing color, these three early chamber works are stepping stones to the musical traits that characterize his later mature works. |
