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dc.contributor.advisorKreyszig, Walteren_US
dc.creatorNoh, Ohranen_US
dc.date.accessioned2009-09-21T13:43:35Zen_US
dc.date.accessioned2013-01-04T04:59:39Z
dc.date.available2010-09-22T08:00:00Zen_US
dc.date.available2013-01-04T04:59:39Z
dc.date.created2009-08en_US
dc.date.issued2009-08en_US
dc.date.submittedAugust 2009en_US
dc.identifier.urihttp://hdl.handle.net/10388/etd-09212009-134335en_US
dc.description.abstractIn 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Grieg’s arrangement of Mozart’s works comprises the Piano Sonata in F major, KV 533/494 (composed in 1788), Fantasia and the Piano Sonata in C minor, KV 475 and KV 457(composed in 1784), the Piano Sonata in C major, KV 545 (composed in 1788), and the Piano Sonata in G major, KV 189h=283 (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozart’s four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions: The writer of this article has himself attempted, by using a second piano, to impart to several of Mozart’s pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozart’s notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master. With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozart’s Piano Sonata in F Major, KV 533/494 in the arrangement by Grieg. With Grieg’s bold claim that he “did not change a single one of Mozart’s notes,” this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.en_US
dc.language.isoen_USen_US
dc.subjectWolfgang Amadeus Mozarten_US
dc.subjectMozarten_US
dc.subjectPiano Sonata in F Majoren_US
dc.subjectKv 533/494en_US
dc.subjectArrangementen_US
dc.subjectGriegen_US
dc.subjectEdvard Griegen_US
dc.titleWolfgang Amadeus Mozart's Piano Sonata in F major, KV 533/494 in the arrangement by Edvard Grieg : a critical examination of the musical text in the context of the primary sourcesen_US
thesis.degree.departmentMusicen_US
thesis.degree.disciplineMusicen_US
thesis.degree.grantorUniversity of Saskatchewanen_US
thesis.degree.levelMastersen_US
thesis.degree.nameMaster of Arts (M.A.)en_US
dc.type.materialtexten_US
dc.type.genreThesisen_US
dc.contributor.committeeMemberParkinson, Daviden_US
dc.contributor.committeeMemberMarion, Gregoryen_US
dc.contributor.committeeMemberSolose, Kathleenen_US
dc.contributor.committeeMemberMcNeill, Deanen_US


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