| Type of Document |
Treatise |
| Author |
Tischhauser, Andreas Paul
|
| Author's Email Address |
tischhause_a@fortlewis.edu |
| URN |
etd-11132005-173032 |
| Title |
Louise Farrenc's Trio For Flute, Cello And Piano: A Critical Edition And Analysis |
| Degree |
Doctor of Musical Arts |
| Department |
Music, College of |
| Advisory Committee |
| Advisor Name |
Title |
| Jeff Keesecker |
Committee Chair |
| André Thomas |
Committee Member |
| Evan Jones |
Committee Member |
| Patrick Meighan |
Committee Member |
|
| Keywords |
- Analysis
- Critical Edition
- Composers
- Women Composer
- Female Composer
- Chamber Music
- Music
- Nineteenth Century
- Louise
- Farrenc
- Trio
- Flute
- Cello
- Piano
|
| Date of Defense |
2005-10-31 |
| Availability |
unrestricted |
Abstract
Many flutists believe that the romantic period saw a decline in music for their instrument. One purpose of this document is to republish Louise Farrenc’s Trio in E minor for Flute, Cello and Piano, Op. 45 in an attempt to add quality literature to the repertoire of nineteenth century flute music. In the most recent edition, the score has been reproduced more legibly, corrections have been made to inconsistencies harmonically, articulations and phrasing has been more idiomatically constructed, and the notation made more contemporary. Prior to the completion of this treatise, the composition has been republished with an introduction by the author of this document. Additionally, in recent years, there has been an increase in the interest of the music of female composers and with it, the work of the romantic composer Louise Farrenc. Accompanying the musical score is a biography and critical analysis that will bring familiarity to a composer whose works have fallen from popularity, perhaps not due to the quality of her work but from the gender discrimination that existed during her lifetime.
The first chapter of the document includes comprehensive biographical, historical, and cultural information from historical sources. Also included is information pertinent to this performance document through research of the personal correspondence and criticism contemporary to Louise Farrenc. The second chapter is a comprehensive analysis of the work including musical examples. The third chapter is a retrospective view of Louise Farrenc and the significance of the republication. A critical edition of the score of the trio will be Appendix A.
This document will serve as a source of information that the reader may use to become acquainted with Farrenc’s compositions and chamber music. It will also serve as an extensive compendium to the author’s introduction of the republished work and will assist research into other works of nineteenth century chamber music and the music of female composers of this era.
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