This study will examine the opening sonata-form movements of the piano trios by Felix Mendelssohn (1809–1847) and Robert Schumann (1810–1856) concentrating on the interaction between analysis and performance. The aim is to consider and explore musical motion from various analytical perspectives – such as formal, structural, metrical, and a more general dramatic aspect – and see how they interact with each other. In addition, these analytical insights are related to the issues of musical ‘shaping’ in performance, and the study examines both how the analytical findings might be reflected in performers’ shaping and, vice versa, how the analytical interpretation might be influenced by the experience gained while rehearsing the works for performance.
Taideyliopiston Sibelius-Akatemia
This study will examine the opening sonata-form movements of the piano trios by Felix Mendelssohn (1809–1847) and Robert Schumann (1810–1856) concentrating on the interaction between analysis and performance. The aim is to consider and explore musical motion from various analytical perspectives – such as formal, structural, metrical, and a more general dramatic aspect – and see how they interact with each other. In addition, these analytical insights are related to the issues of musical ‘shaping’ in performance, and the study examines both how the analytical findings might be reflected in performers’ shaping and, vice versa, how the analytical interpretation might be influenced by the experience gained while rehearsing the works for performance.
Taideyliopiston Sibelius-Akatemia
