A research in regard to the Sonata for Piano and Violin Op. 108 No. 3 D Minor by Johannes Brahms in the light of the nineteenth-century violin tradition in terms of technique and interpretation

In this research, relating the Sonata for Piano and Violin Op. 108 No. 3 in D Minor composed by Johannes Brahms to its performer in the sense of violin technique and the composer's world of music is the aim of the study. In the first part of the study, the process until its final state of the sonata style, of which had become with Brahms is evaluated within the context of 18th and 19th centuries' characteristic feature by retracing the sonata concept as much as possible -because of paying regard not to digress. Developments in the history of music are evaluated mostly at the center of eventual evolvement and parallelisms in respect of the creation of sonata as a composition style. An information about composer's life and impacts of notable violinists of his time to the music of the century, his close friend Joseph Joachim being in the first place, are given in the proceeding chapters. These interpretations are expected to enlighten the performer to reach an intellectual ground about such phenomena as the composer, composition, structure, periodical circumstances etc. before he or she begins to examines the composition. Analyzing its structure in the second part, it is aimed to make the composer's creation to be more intelligible. Movements of the work are observed stylistically and figuratively in separate titles with some extra details inside regarding the composing sense of Brahms. In the last part of the research, detections towards technique and interpretation which could be met along the performance, and corresponding suggestions are presented in the light of the benefits from first 2 parts. In this section of the study, the goal is to guide the performer on the preparation phase in a holistic perspective way. In order to provide a fluent reading experience throughout the study, the music publishing house G. Henle Verlag's "urtext" (edition of a composer's original writing without any adjustments made) publication of the sonata, of which was edited by Hans Otto Hiekel, is faithfully transposed to the digital environment. As for the material given in the appendix title is the scanned version of the original printing. Through the research, non-Turkish -or remaining uncovered in Turkish Language Foundation- words and some of the musical terms are given in italic form, and a number of musical terms which are foreseen to enrich the concept are described as footnotes. KEY WORDS: Johannes Brahms, sonata for piano and violin, violin technique, study methods