Performing Methods of Beethoven’s Violin Concerto in D major, Op. 61, Third Movement: “Rondo: Allegro”

Authors

• Zike QiFollow

Preferred Name

Zike Qi

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License

Date of Graduation

8-14-2026

Semester of Graduation

Summer

Degree Name

Doctor of Musical Arts (DMA)

Department

School of Music

First Advisor

Wanchi Huang

Second Advisor

Carl Donakowski

Third Advisor

Jingyi Zhang

Abstract

This document examines the third movement “Rondo: Allegro” of Violin Concerto in D major, Op. 61 by Ludwig van Beethoven, focusing on how structural relationships in the score are transformed into auditory experience through performance methods. Rather than treating performance as a direct reproduction of the text, this research understands it as a process in which structure becomes perceptible in time.

Combining structural analysis, recording comparison, and self-recording practice, the study interprets the movement within a rondo–sonata framework (A–B–A–C–A–B–A). It demonstrates that the rondo theme assumes different functions—presentation, transition, and development—depending on its structural position.

Through comparison of recordings by Jascha Heifetz, Fritz Kreisler, Hilary Hahn, and Isabelle Faust, the study shows that articulation, pacing, vibrato, and bow distribution shape how structure is perceived in listening. Based on these observations, a structure-oriented performance approach is proposed, supported by self-recording analysis and technical frameworks associated with Shinichi Suzuki and Ivan Galamian.

The findings suggest that musical structure does not emerge automatically from the score, but must be actively realized in performance.