|Institution:||Louisiana State University|
|Keywords:||Performance; Andante con moto; Op. 58; Beethoven's Piano Concerto in G Major|
|Full text PDF:||http://etd.lsu.edu/docs/available/etd-04152013-112915/|
The purpose of this monograph is to provide a thorough analysis of the Andante con moto of Beethovens Fourth Piano Concerto, focusing on a variety of interpretative options for the performer. The sources of interpretive options will include conventional formal and harmonic analysis, consultation of existing scholarly research on the subject, historical performance practices, and possible musical implications of the application of the Orpheus program as proposed by Owen Jander. The formal and theoretical analysis refers to significant scholarly works and includes a variety of interpretive options, detailing possibilities for phrasing, formal musical structure, and the overall function and purpose of the movement within the context of the concerto. The discussion of historical performance factors includes period instruments, historical performance venues, and the application of the Orpheus program to the movement. The conclusion of this endeavor produces a thorough analysis of the Andante con moto of Beethovens Fourth Piano Concerto that raises and discusses issues that should be considered by performers of this staple of the piano repertoire. A recommended interpretation of the movement is presented for consideration.