The interpretation of a recital repertoire : a survey of violin performances

Abstract

Preparation for a final recital requires the musician to go beyond simple practice to fulfil a thoughtful process for optimal results. How does one prepare for a recital? How is music interpreted? What are the elements of interpretation? What do the recordings suggest? How does this influence my interpretation? This dissertation discusses all the questions above while going step by step into the analysis of other violinist’s recordings and performances and the implied influenced on my interpretation. The programme recital consists of the first two movements from J.S. Bach’s Paritita no.2 in d minor, second and third movements from Saint-Saëns’ Violin Concerto no.3 in b minor, Ludwig van Beethoven’s Romance no.2 in F major, Josef Suk’s Appassionato from Four Pieces for Piano and Violin, and Alfred Schnittke’s Polka. The first chapter, which is the Literature Review, discusses the concept of interpretation and the different elements that form interpretation. It also covers the various eras of music that will be represented in the recital as well as information on the composers. Finally, the recordings chosen for interpretation purposes are listed. The second chapter discusses the exploration of interpretation. Every piece is analysed, and recordings compared for interpretation examples. Figures are used to illustrate differences and choices made for the interpretations. The third chapter focuses on the performance and preparation of the repertoire for the recital. Practice processes are mentioned, and the idea of technical difficulty and interpretation freedom is discussed. Finally, improving performance anxiety is explored with the recital in mind. In conclusion, comments are given on what could have been improved during this recital preparation process, as well as looking ahead into what can be done in the near future.