City Research Online

Abstract

The extensive annotations found in the 2009 Uppingham Collection of musical works owned by Ferdinand David (1810-73) provide evidence of the significance of his role as a violinist, editor and teacher in 19th-century Leipzig. This thesis attempts to place David's annotations within the historical context of such indications (such as bowing markings, articulations, or fingerings) by those who had a musical connection with him, and in the process will assess the details, development and uniqueness of his playing style, as well as his lasting and profound impact on subsequent students.

The thesis addresses several issues. First, it provides a detailed supplement and explanation of David's performance style and his uniqueness within a broader historical context, based on known works and some newly discovered annotations, exploring how these preferences are formed. Second, the thesis examines how David's annotations across different periods and works reveal the nuances and transformations in his stylistic practices. Third, it discusses David's role at the Leipzig Conservatorium, examining his influence and contributions to the performance styles of his students, and their students, many of whom were associated with the Leipzig Conservatorium. Lastly, the dissertation investigates how David understood these annotations—whether strictly adhering to all annotations or opting for personalized interpretations and providing performers with guidelines on how to interpret the notations in early works.

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music
Departments:	Doctoral Theses Doctoral Theses > School of Arts and Social Sciences Doctoral Theses City, University of London (-2022) > School of Arts & Social Sciences > Music School of Arts & Social Sciences > Music

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