JOACHIM, BRAHMS, AND SCHUMANN: THE FLOURSHING OF NINETEENTHCENTURY VIOLIN REPERTOIRE

The cultivation of violin repertoire and its ultimate dominance of the late Nineteenth-Century orchestral library are best examined through the analysis and study of the works of Joseph Joachim (1831-1907), Johannes Brahms (1833-1897), and Robert Schumann (1810-1856). Each of these men, in their own right, made significant contributions to the development of violin repertoire during the latter half of the Nineteenth Century. Yet their achievements were also the result of a collaborative effort and shared influence, the absence of which would have yielded a diminutive musical landscape, especially in the concerti of Brahms and Joachim. This dissertation explores Joachim’s technical dexterity and its influence on Brahms and Schumann, and further studies the vital role Brahms and Schumann played in forming Joachim as both composer and editor. The pieces examined in this dissertation evidence the significant influence each of these composers shared. Three chamber compositions stand as guideposts in the analysis and establish a stylistic foundation to collaborative efforts among Joachim, Brahms, and Schumann. The preliminary recital focuses on these chamber pieces which illustrate the individual style of each composer, featuring Joachim’s Romance, Op. 2, written between 1848 and 1852, Schumann’s Second Sonata, Op. 121, written in 1851, and Brahms’ Second Sonata, Op. 100, written in 1886. A second performance includes the enigmatic F-A-E Sonata of Brahms, Schumann, and Albert Deitrich, Schumann’s pupil, as well as Joachim’s Second Concerto. A collaborative effort, the F-A-E Sonata represents Brahms’ and Schumann’s efforts to write with Joachim’s unbridled style and technique in mind. An even greater musical offering, Joachim’s Second Concerto, a gift to Brahms in 1860, has been called the “Holy Grail” of concertos, and is considered the preeminent display of Joachim’s creative genius by incorporating demanding technical challenges and Hungarian-like overtones. The third and final program features Brahms’ Concerto in D Major. A fitting response to Joachim’s gift 17 years later, Brahms’ Concerto was written for Joachim at the height of his career, bearing the performer’s stylistic elements throughout. The recital also includes various Hungarian Dances by Brahms. While the Dances were not original to Brahms, they further illustrate the underlying idiom of Hungarian folk music in both Brahms’ and Joachim’s art.

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

FOLK ELEMENTS IN TWENTIETH-CENTURY HUNGARIAN MUSIC

At the beginning of the twentieth century, composers Béla Bartók and Zoltán Kodály collected thousands of folksongs from the rural regions of Hungary. In an effort to preserve a part of their culture that they feared would be lost, they not only transcribed and catalogued these folksongs, but also incorporated the folk traditions they encountered into their own compositional style. This dissertation deals with violin music written by Bartók, Kodály and their Hungarian contemporaries that have in common the use of rhythms, modes, melodies, figurations and playing techniques sourced in folk traditions. The use of the Hungarian folk idiom in classical music was not exclusive to the twentieth century. From the late eighteenth century until the first decades of the twentieth century, composers utilized aspects of a popular eighteenth-century form of Hungarian folk music called verbunkos. What makes the use of folk music unique in the twentieth century is that, thanks to the work of Bartók and Kodály, composers found inspiration in the more authentic “peasant music.” Unlike the popular, urban verbunkos music, peasant music was the product of the more secluded village-music tradition, largely untouched by the influences of city life. In addition to stimulating a new focus on peasant music, Bartók and Kodály fully assimilated the folk idiom into their compositional toolkits, creating a new style of folk-inspired art music that influenced a generation of Hungarian composers. The new style included characteristic elements of both peasant music and the verbunkos tradition, such as ancient modes and scales, accompanimental and melodic rhythmic patterns, ornamentation, and phrase structures sourced in folk song. To demonstrate the implementation of the folk idiom by twentieth-century Hungarian composers, three recital programs were given at the University of Maryland that included works by Béla Bartók, Sándor Veress, Leo Weiner, Zoltán Kodály, Ernő Dohnányi, Zoltán Székely and György Kurtág. The works can be divided into two main categories: settings or transcriptions of folk material (e.g. Bartók’s Hungarian Folksongs) and compositions using classical forms that include the Hungarian folk idiom (e.g. Bartók’s Contrasts). Recital collaborators include Li-Tan Hsu, Evelyn Elsing, Elizabeth Brown, Shelby Sender and Samantha Angelo.

THE PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.

Fe XIII emission lines in active region spectra obtained with the Solar Extreme-Ultraviolet Research Telescope and Spectrograph

Recent fully relativistic calculations of radiative rates and electron impact excitation cross-sections for FeXIII are used to generate emission-line ratios involving 3s23p2-3s3p3 and 3s23p2-3s23p3d transitions in the 170-225 and 235-450 Å wavelength ranges covered by the Solar Extreme-Ultraviolet Research Telescope and Spectrograph (SERTS). A comparison of these line ratios with SERTS active region observations from rocket flights in 1989 and 1995 reveals generally very good agreement between theory and experiment. Several new FeXIII emission features are identified, at wavelengths of 203.79, 259.94, 288.56 and 290.81 Å. However, major discrepancies between theory and observation remain for several FeXIII transitions, as previously found by Landi and others, which cannot be explained by blending. Errors in the adopted atomic data appear to be the most likely explanation, in particular for transitions which have 3s23p3d1D2 as their upper level. The most useful FeXIII electron-density diagnostics in the SERTS spectral regions are assessed, in terms of the line pairs involved being (i) apparently free of atomic physics problems and blends, (ii) close in wavelength to reduce the effects of possible errors in the instrumental intensity calibration, and (iii) very sensitive to changes in Ne over the range 108-1011cm-3. It is concluded that the ratios which best satisfy these conditions are 200.03/202.04 and 203.17/202.04 for the 170-225 Å wavelength region, and 348.18/320.80, 348.18/368.16, 359.64/348.18 and 359.83/368.16 for 235-450 Å.

Effective collision strengths for transitions in Fe XIII

Effective collision strengths for transitions among the lowest 97 fine-structure levels belonging to the (1s(2)2s(2)2p(6)) 3s(2)3p(2), 3s3p(3), 3s(2)3p3d, 3p(4), 3s3p(2)3d and 3s(2)3d(2) configurations of Fe XIII have been calculated using the fully relativistic Dirac Atomic R-matrix Code (DARC) of Norrington & Grant (2004). Resonances have been resolved in the threshold region, and results are reported over a wide electron temperature range up to log T-e = 6.8 K. Comparisons are made with the earlier available R-matrix results of Gupta & Tayal (1998), and the accuracy of the data is assessed.

Electron impact excitation of Fe XIII

Energy levels and radiative rates for transitions among the lowest 97 fine-structure levels belonging to the (1s(2) 2s(2) 2p(6)) 3 s(2) 3p(2), 3s3p(3), 3s(2) 3p3d, 3p(4), 3s3p(2) 3d and 3s(2) 3d(2) configurations of Fe XIII have been calculated using the fully relativistic GRASP code. Additionally, collision strengths for transitions among these levels have been computed using the Dirac Atomic R-matrix Code (DARC) of Norrington & Grant (2004). Radiative rates and oscillator strengths are tabulated for all allowed transitions among the 97 fine-structure levels, while collision strengths are reported for some transitions at a few energies above thresholds. Comparisons are made with the available results, and the accuracy of the data is assessed.

Energy levels and radiative rates for transitions in Ni XIII-Ni XVI

Energy levels and radiative rates for fine-structure transitions in nickel ions (Ni XIII-XVI) have been calculated using the GRASP code. Configuration interaction and relativistic effects have been included, and comparisons are made with available data. Energy levels and radiative rates are tabulated for transitions among the 48, 43, 32, and 84 levels of Ni XIII, Ni XIV, Ni XV, and Ni XVI, respectively. The energy levels are assessed to be accurate to better than 5% for a majority of levels, while oscillator strengths for all strong transitions are accurate to better than 20%. (C) 2003 Published by Elsevier Inc.

Oscillator strengths for transitions in C-like ions between FIV and Ar XIII

Energy levels and oscillator strengths (transition probabilities) have been calculated for the fine-structure transitions among the levels of the (1s(2)) 2s(2)2p(2), 2s2p(3), 2p(4), 2s(2)2p3s, 2s(2)2p3p, and 2s(2)2p3d configurations of C-like F IV, Na VI, Al VIII, P X, Cl XII, and Ar XIII using the CIV3 program. The extensive configuration interaction and relativistic effects have been included while generating the wavefunctions. Calculated values of energy levels generally agree within 5% with the experimentally compiled results, and the length and velocity forms of oscillator strengths agree within 20% for a majority of allowed transitions.

Energy levels and radiative rates for transitions in Ar XIII, Ar XIV and Ar XV

Energies for 524 levels of Ar XIII, 460 levels of Ar XIV and 156 levels of Ar XV have been calculated using the GRASP code of Dyall et al. (1989). Additionally, radiative rates, oscillator strengths, and line strengths are calculated for all electric dipole (E1), magnetic dipole (M1), electric quadrupole (E2), and magnetic quadrupole (M2) transitions among these levels. Comparisons are made with the limited results available in the literature, and the accuracy of the data is assessed. Our energy levels are estimated to be accurate to better than 1%, whereas results for other parameters are probably accurate to better than 20%. Additionally, the level lifetimes derived from our radiative rates are in excellent agreement with measured values.

Electron impact excitation of A1 XIII: A relativistic approach

Energy levels, radiative rates, collision strengths, and effective collision strengths for all transitions up to and including the n = 5 levels of AlXIII have been computed in the j j coupling scheme including relativistic effects. All partial waves with angular momentum J less than or equal to 60 have been included, and resonances have been resolved in a fine energy grid in the threshold region. Collision strengths are tabulated at energies above thresholds in the range 170.0 less than or equal to E less than or equal to 300.0 Ryd, and results for effective collision strengths, obtained after integrating the collision strengths over a Maxwellian distribution of electron velocities, are tabulated over a wide temperature range of 4.4 less than or equal to log T-e less than or equal to 6.8 K. The importance of including relativistic effects in a calculation is discussed in comparison with the earlier available non-relativistic results.

Electron impact excitation of Al XIII: Collision strengths and rate coefficients

Collision strengths for all transitions up to and including the n = 5 levels of Al XIII have been computed in the LS coupling scheme using the R-matrix code. All partial waves with angular momentum L less than or equal to 45 have been included, and resonances have been resolved in a fine energy grid in the threshold region. Collision strengths are tabulated at energies above thresholds in the range 162.30 less than or equal to E less than or equal to 220.0 Ry, and results for the 1s-2s and 1s-2p transitions are compared with those of previous authors. Additionally, effective collision strengths, obtained after integrating the collision strengths over a Maxwellian distribution of electron velocities, are tabulated over a wide temperature range of 4.40 less than or equal to log T-e less than or equal to 6.40 K.