Fuge, D dur, für 2 Violonen, 2 Violen, und Violoncell,

Mode of access: Internet.

Divertimento, F-dur, für 2 Violinen, Viola, Bass und 2 Horner.

Mode of access: Internet.

Kvintet for 2 violiner, bratsch og 2 violonceller, op. 20 /

For piano, 4 hands; parts on facing pages.

Quartette,

Mode of access: Internet.

Fantazia, for string sextet or small string orchestra (from Psalms, songs & sonnets, 1611) /

Mode of access: Internet.

Konzert in F-dur für Laute, 2 Violinen und Violoncello /

Mode of access: Internet.

L'arte del violino : 25 capricci = L'art du violon : 25 caprices = The art of the violin : 25 caprices = Die Kunst des Violinspiels : 25 Capricen = El arte de violín : 25 Caprichos /

Mode of access: Internet.

Sonaten für 2 Violinen, Violoncell und Bass /

Mode of access: Internet.

Suite, G-moll, aus Delitiae musicales oder Lust-Music, für zwei Violinen, zwei Violen, Violoncello (Fagott) Kontrabass und Cembalo (Klavier)

Originally for 2 violins, 2 violas, bassoon, and continuo. Continuo part realized for keyboard instrument.

Trio in C moll für 2 Violinen, Violoncell und Pianoforte /

"Partitur von der Hand J. S. Bachs datiert 30.Aug.1742."

Alla sarabanda : from Phantasy quintet for strings ; Antiphon : from Five mystical songs /

Publisher no.: 1.5076.

Twelve sonatas for two violins : with a bass for the violoncello or harpsichord /

Mode of access: Internet.

Konzertante für zwei violinen mit orchester.

Arrangement for violins 1-2 with piano accompaniment.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

Beethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositions

Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. The first recital was performed in Ulrich Recital Hall; the second and third recitals were performed in Gildenhorn Recital Hall at the University of Maryland. All three performances were collaborations with pianist, Hsiang-Ling Hsiao. A Recording of the first program can be found in the Digital Repository at the University of Maryland (DRUM). Recordings of the second and third recitals can be accessed at the University of Maryland Hornbake Library.