The romance attributed to Carl Maria von Weber and the concertino of Ferdinand David: insight and interpretation

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dc.contributor Kozak, Christopher
dc.contributor Biermann, Joanna Cobb
dc.contributor Whitaker, Jonathan
dc.contributor Baldwin, J. Norman
dc.contributor Peles, Stephen
dc.contributor.advisor Snead, Charles
dc.contributor.author Shanks, John Gavin
dc.date.accessioned 2017-03-01T16:59:21Z
dc.date.available 2017-03-01T16:59:21Z
dc.date.issued 2014
dc.identifier.other u0015_0000001_0001519
dc.identifier.other Shanks_alatus_0004D_11809
dc.identifier.uri https://ir.ua.edu/handle/123456789/1978
dc.description Electronic Thesis or Dissertation
dc.description.abstract Certain pieces of music in the repertoire of any instrument stand above the rest. Young players study them as a rite of passage, professionals perform them as standard repertoire, and audition committees request them to assess the candidate's musicality. For the trombone, two such pieces are the Romance attributed to Carl Maria von Weber and Ferdinand David's Concertino. Despite the importance of these pieces in all phases of a professional trombonist's career, less scholarly attention has been paid to them than to the repertoires of other instruments. The purpose of this document is to provide an interpretation of these works to be used as a guide to successful performance. This interpretation will be informed by formal and historical overviews. The creation of this path to competency requires a thorough historical investigation. This look at history is also interesting in its own right, as both pieces feature interesting backgrounds. The Romance was likely not written by Weber or intended for the trombone, yet it is known as the Weber Romance for trombone. Felix Mendelssohn originally intended to write the Concertino, but passed that responsibility to his concertmaster, Ferdinand David. If Mendelssohn had set a precedent by writing a trombone solo, perhaps the other great composers whom Mendelssohn influenced would have followed suit. These facts can at the very least provide the aspiring trombone soloist with a sense of context for preparation of these works. The core of this document is a phrase-by-phrase interpretation of each work coupled with the historical background. The process of combining this historical background with information about the structure of the piece, period performance practice, and the mechanical problems specific to the trombone forms the base from which the successful performing musician works. This "performer's guide" is not meant to be a method book or a practice guide but rather an informed application of music theory and historical knowledge to the composer's musical content in these pieces.
dc.format.extent 100 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Music
dc.title The romance attributed to Carl Maria von Weber and the concertino of Ferdinand David: insight and interpretation
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. School of Music
etdms.degree.discipline Music
etdms.degree.grantor The University of Alabama
etdms.degree.level doctoral
etdms.degree.name D.M.A.


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