Paul Wittgenstein in Great Britain
Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His...
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| Format: | Thesis (University of Nottingham only) |
| Language: | English |
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2016
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| Online Access: | https://eprints.nottingham.ac.uk/33743/ |
| _version_ | 1848794694731956224 |
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| author | Wong, Wendy H.W. |
| author_facet | Wong, Wendy H.W. |
| author_sort | Wong, Wendy H.W. |
| building | Nottingham Research Data Repository |
| collection | Online Access |
| description | Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His British performing career and the compositions Ernest Walker, Norman Demuth and Benjamin Britten composed for and dedicated to him, however, remain relatively unexplored. By examining a variety of primary sources that are disclosed here for the first time, this thesis offers the first scholarly research into Wittgenstein’s performing activities in Great Britain in the 1920s–50s and his British commissions in order to fill a major research gap in Wittgenstein studies.
Chapter 1 explores Wittgenstein’s self-recognition as a member of the Viennese aristocracy and the shaping of his musical identity, conception and taste, followed by an overview of the related primary sources that are currently located in Hong Kong and the United Kingdom, a detailed summary of his performing activities in Great Britain and a discussion of the British reception of him as a left-hand pianist. Chapter 2 focuses on Walker and the three compositions he wrote for piano left-hand, two of which he composed before meeting Wittgenstein and one after, and the pianist’s attitude towards them. Chapter 3 brings to light the much-neglected composer Demuth and the two works he composed for Wittgenstein and discusses possible reasons why the pianist never performed them. Chapter 4 examines Wittgenstein’s first and only official British commission, the Diversions, Op. 21 by Britten, and investigates the interaction between composer and pianist in the compositional process and their differing conceptions of the work. |
| first_indexed | 2025-11-14T19:20:16Z |
| format | Thesis (University of Nottingham only) |
| id | nottingham-33743 |
| institution | University of Nottingham Malaysia Campus |
| institution_category | Local University |
| language | English |
| last_indexed | 2025-11-14T19:20:16Z |
| publishDate | 2016 |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | nottingham-337432025-02-28T11:49:17Z https://eprints.nottingham.ac.uk/33743/ Paul Wittgenstein in Great Britain Wong, Wendy H.W. Most of the existing research on Paul Wittgenstein (1887–1961) focuses on his performing career in central Europe as a left-hand pianist and his commissions from the most prominent composers of the 20th century such as Richard Strauss and Maurice Ravel, and his favourite composer, Franz Schmidt. His British performing career and the compositions Ernest Walker, Norman Demuth and Benjamin Britten composed for and dedicated to him, however, remain relatively unexplored. By examining a variety of primary sources that are disclosed here for the first time, this thesis offers the first scholarly research into Wittgenstein’s performing activities in Great Britain in the 1920s–50s and his British commissions in order to fill a major research gap in Wittgenstein studies. Chapter 1 explores Wittgenstein’s self-recognition as a member of the Viennese aristocracy and the shaping of his musical identity, conception and taste, followed by an overview of the related primary sources that are currently located in Hong Kong and the United Kingdom, a detailed summary of his performing activities in Great Britain and a discussion of the British reception of him as a left-hand pianist. Chapter 2 focuses on Walker and the three compositions he wrote for piano left-hand, two of which he composed before meeting Wittgenstein and one after, and the pianist’s attitude towards them. Chapter 3 brings to light the much-neglected composer Demuth and the two works he composed for Wittgenstein and discusses possible reasons why the pianist never performed them. Chapter 4 examines Wittgenstein’s first and only official British commission, the Diversions, Op. 21 by Britten, and investigates the interaction between composer and pianist in the compositional process and their differing conceptions of the work. 2016-07-12 Thesis (University of Nottingham only) NonPeerReviewed application/pdf en arr https://eprints.nottingham.ac.uk/33743/1/Wendy%20H.W.%20Wong%20%28PhD%20Music%20July%202016%29.pdf Wong, Wendy H.W. (2016) Paul Wittgenstein in Great Britain. PhD thesis, University of Nottingham. Paul Wittgenstein Music for Piano Left-Hand |
| spellingShingle | Paul Wittgenstein Music for Piano Left-Hand Wong, Wendy H.W. Paul Wittgenstein in Great Britain |
| title | Paul Wittgenstein in Great Britain |
| title_full | Paul Wittgenstein in Great Britain |
| title_fullStr | Paul Wittgenstein in Great Britain |
| title_full_unstemmed | Paul Wittgenstein in Great Britain |
| title_short | Paul Wittgenstein in Great Britain |
| title_sort | paul wittgenstein in great britain |
| topic | Paul Wittgenstein Music for Piano Left-Hand |
| url | https://eprints.nottingham.ac.uk/33743/ |