Date of Award

5-2026

Degree Name

Master of Arts

Department

Music

First Advisor

Maria Cristina Fava, Ph.D.

Second Advisor

David Code, Ph.D.

Third Advisor

Sophie Tang, D.M.A.

Fourth Advisor

Bruce Uchimura, M.M.

Keywords

Brahms, interpretation, violin sonata

Access Setting

Masters Thesis-Open Access

Abstract

Developing a quality musical performance is a complicated and time-consuming endeavor. Endless hours are spent learning a musical instrument, developing technique, and growing into a mature sound. Learning the notes, rhythms, dynamics, and basic musical markings of a score compound this task, not to mention the preparation for performing by managing nerves, among other areas of concern. Amidst the undoubtedly enormous amount of work, however, often focus gets lost. Musicians forget that, despite the inherent fact that our inner voice is heard when we perform, that it is ultimately the composer whose voice and musical meaning must be conveyed in the shared experience of musical performance. In order for that to be accomplished, a deep scholarship is a necessity for every serious performer.

To that end, Brahms gets often misunderstood as a “conservative” composer of “absolute music.” This terminology is old-fashioned and sterile. Brahms’s music is anything but those attributes. His music not only contains rhythmically and thematically progressive elements built on the principle of developing variation but can be quite personal for those in his inner circle. The Violin Sonata in G Major, Op. 78 is a perfect example of this. Not only does Brahms hone his mature style in this work, but he delivers a uniquely personal narrative for his dear friend Clara Schumann. Through researching the genesis of this composition, correspondence on it between him and Clara, as well as theoretical analysis, performers can make informed decisions on how to interpret this glorious, lyrical, and profoundly moving sonata.

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