Chamber Music

CHAMBER MUSIC

ROUTLEDGE MUSIC BIBLIOGRAPHIES COMPOSERS Isaac Albéniz (1998) Walter A. Clark C. P. E. Bach (2002) Doris Bosworth Powers Samuel Barber, Second edition (2010) Wayne C. Wentzel

Gaetano Donizetti, Second edition (2009) James P. Cassaro

Giovanni Pierluigi da Palestrina (2001) Clara Marvin

Edward Elgar (1993) Christopher Kent

Giacomo Puccini (1999) Linda B. Fairtile

Gabriel Fauré (1999) Edward R. Phillips

Maurice Ravel (2004) Stephen Zank

Alberto Ginastera (2010) Deborah Schwartz-Kates

Gioachino Rossini, Second edition (2010) Denise P. Gallo

Béla Bartók, Second edition (1997) Elliott Antokoletz

Christoph Willibald Gluck, Second edition (2003) Patricia Howard

Vincenzo Bellini, Second edition (2009) Stephen A. Willier

Charles François Gounod (2009) Timothy S. Flynn

Alban Berg, Second edition (2009) Bryan R. Simms

G.F. Handel, Second edition (2004) Mary Ann Parker

Heinrich Schenker (2003) Benjamin Ayotte

Paul Hindemith (2005) Stephen Luttman

Alexander Scriabin (2004) Ellon D. Carpenter

Johannes Brahms (2003) Heather Platt

Charles Ives, Second edition (2009) Gayle Sherwood

Jean Sibelius (1998) Glenda D. Goss

Benjamin Britten (1996) Peter J. Hodgson

Scott Joplin (1998) Nancy R. Ping-Robbins

William Byrd, Second edition (2005) Richard Turbet

Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka

Elliott Carter (2000) John L. Link

Franz Liszt, Third edition (2009) Michael Saffle

Leonard Bernstein (2001) Paul F. Laird

Carlos Chávez (1998) Robert Parker Frédéric Chopin (1999) William Smialek Aaron Copland (2001) Marta Robertson and Robin Armstrong Frederick Delius, Second edition (2009) Mary L. Huisman

Camille Saint-Saëns (2003) Timothy S. Flynn Alessandro and Domenico Scarlatti (1993) Carole F. Vidali

Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer Richard Wagner (2010) Michael Saffle Adrian Willaert (2004) David Michael Kidger

Guillaume de Machaut (1995) Lawrence Earp Gustav and Alma Mahler (2008) Susan M. Filler Felix Mendelssohn Bartholdy (2001) John Michael Cooper Olivier Messiaen (2008) Vincent P. Benitez

GENRES American Music Librarianship (2005) Carol June Bradley Blues, Funk, R&B, Soul, Hip-Hop, and Rap (2010) Eddie S. Meadows

Chamber Music, Third edition (2010) John H. Baron Church and Worship Music (2005) Avery T. Sharp and James Michael Floyd

Jazz Scholarship and Pedagogy, Third edition (2005) Eddie S. Meadows

The Recorder, Second edition (2003) Richard Griscom and David Lasocki

The Musical (2004) William A. Everett

Serial Music and Serialism (2001) John D. Vander Weg

Concerto (2006) Stephen D. Lindeman

North American Indian Music (1997) Richard Keeling

Ethnomusicology (2003) Jennifer C. Post

Opera, Second edition (2001) Guy Marco Piano Pedagogy (2009) Gilles Comeau

String Quartets, Second edition (2009) Mara E. Parker The Violin (2006) Mark Katz Women in Music (2005) Karin Pendle

CHAMBER MUSIC A RESEARCH AND INFORMATION GUIDE THIRD EDITION

JOHN H. BARON

ROUTLEDGE MUSIC BIBLIOGRAPHIES

First published 2010 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business

This edition published in the Taylor & Francis e-Library, 2010. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. © 2010 Taylor & Francis All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Baron, John H. Chamber music : a research and information guide / John H. Baron. – 3rd ed. p. cm. – (Routledge music bibliographies) Includes bibliographical references. 1. Chamber music–Bibliography. I. Title. ML128.C4B37 2010 016.785–dc22 2009010672

ISBN 0-203-89123-6 Master e-book ISBN

ISBN10: 0-415-99418-7 (hbk) ISBN10: 0-203-89123-6 (ebk) ISBN13: 978-0-415-99418-7 (hbk) ISBN13: 978-0-203-89123-0 (ebk)

In memory of my grandfather, Julius Singer, violinist and my aunt, Romola Singer Rice, pianist chamber musicians par excellence and in honor of John Ward and Paul Brainard my teachers par excellence

Contents Acknowledgments

xi

List of Abbreviations

xii

Introduction

xiii

I

II

III

IV

Basic Reference

1

General Music Reference Chamber Music Reference Periodicals Bibliographies

1 4 5 7

History of Chamber Music

46

General Studies The String Quartet Sonata Woodwind Ensembles Brass Ensembles Mixed Ensembles of Woodwinds and Brass Other Genres Studies of the Chamber Music of Particular Regions of the World

46 60 81 101 107 112 114

Analytic Studies

194

Aesthetics and Definitions Analytic Methods Analysis of Specific Works

194 214 224

Performance Practice of Chamber Music

644

General Advice on Performing Chamber Music Bibliographies of Performance Practice for Chamber Music Performance Advice for the Chamber Music of Specific Periods and Composers Advice on Performing String Quartets Advice on Performing Sonatas

644 649

135

650 654 664 ix

x

Contents

V

VI

Advice on Performing Wind Ensembles Advice on Performance of Other Types of Chamber Music Advice on Performance of Individual Instruments in Chamber Music Suggestions on the Use of Conductors for Contemporary Chamber Music Advice on Ornamentation Discussion of Tempo Discussion of Dynamics Discussion of Scoring Discussion of Acoustics

670 671

Performers of Chamber Music

684

General Lists and Discussions of Performance Groups Discussions of Multiple Chamber Groups, Especially String Quartets Studies of Individual Performing Groups Studies of Individual Performers of Chamber Music

684 686 690 704

Miscellaneous Topics

712

Patronage and Concert Series Women’s Studies Early Recordings of Chamber Music Music Therapy Education Iconography Films

712 723 723 724 725 729 731

672 678 679 680 682 682 683

Subjects Index

732

Persons Index

741

Authors Index

756

Chamber Music Ensembles Index

778

Acknowledgments Research for the first edition of this book was made possible through the generosity of Tulane University (Summer Research Grant) and the National Endowment for the Humanities (Travel Grant). Work was carried on in the Maxwell Music Library of Tulane University, in the libraries of Harvard University, Louisiana State University, Hunter College, and the University of Memphis, and at the Library of Congress, Boston Public Library, Newberry Library, and the New York Public Library. Many libraries from all over the United States provided books on interlibrary loan through the Howard-Tilton Memorial Library of Tulane University. Computer facilities have been provided by Tulane University Music Department, Francis Monachino, chairperson. Special thanks to Liselotte Andersson, Wayne Shirley, Jeannette Thompson, Paul Kovenock, Elliott Kaback, Robert Voss, Richard and Hermine Makman, Bernice Baron, Andrew Acs, Yosif Feigelson, Bailey Berry, Faina Lushtak, Vladimir Hirsu, Josel Sheveloff, Robert Falk, Heinrich Schwab, Alison Hartman, Leonard Bertrand, Lynn Gelpi, Victoria Blanchard, and the many university librarians who reported to me on the status of dissertations and theses. Last, but certainly not least, this book could not have been written without the sacrifices, tolerance, and patience of my wife, Doris and children, Beth, Jeffrey, and Miriam. In addition to most of the above-named institutions and persons, the second edition of this guide was made possible through the assistance of Robert Curtis of the Maxwell Music Library, Lied Eckblad, and Sarah McDaniel of the Leavey Library at the University of Southern California. As in the first edition, the Tulane University Library Interlibrary Loan Department has been indispensable to this work. I am also grateful for colleagues both in America and in Germany who have pointed out errors and omissions in the first edition. The third edition is indebted to all of the above-named persons. Especially important for the third edition are all those who supplied gifts and interlibrary materials at a time when, post hurricane Katrina, the great Maxwell Music Library of Tulane University lay devastated.

xi

Abbreviations a AMD DA DAI DD DMA DMus ed EdD fl HML ISBN LC NYPL m M MAD MD MED MFA ML MM MPhil MT MusAD NL Op. Opp. PhD RILM SBN trl UM UMI

xii

scored for the following number of instruments see MAD Dissertation Abstracts Dissertation Abstracts International doctoral dissertation Doctor of Musical Arts degree Doctor of Music edited by/edition Doctor of Education degree flourished Harvard Music Library International Standard Book Number Library of Congress New York Public Library measure Musical score, Library of Congress classification Music Arts degree Doctor of Music degree Doctor of Music Education Master of Fine Arts Musical literature, Library of Congress classification Master of Music degree Master of Philosophy Music theory, Library of Congress classification Doctor of Musical Arts Newberry Library, Chicago opus opera Doctor of Philosophy degree Répertoire International de la Littérature Musicale Standard Book Number translated by/translator/translation University Microfilms University Microfilms International, Ann Arbor, Michigan

Introduction INTRODUCTION TO THE FIRST EDITION Any consideration of chamber music must start with its performance and with hearing its unique, intimate sounds. But how much more meaningful it is if, with the guidance of a specialist talking or writing on music, we can play it better and catch exciting moments in the music which we would otherwise miss. Much has been written about chamber music, but where do we find what we need or want to know? This is a reference tool for anyone interested in chamber music. It is not a history or an encyclopedia but a guide to where to find answers to questions about chamber music. It may even suggest some questions the reader hadn’t thought of yet. In pointing the way, however, I have repeated here many facts gleaned from studies about chamber music so that some readers will not need to go further and actually find the source cited. The scholar might find the book useful when stepping beyond the confines of his/her specialization, and the layperson and performer (amateur or professional), hopefully, can use this to broaden his/her knowledge about this special kind of music. Many have defined chamber music differently from the way I do (see Chapter III). Rather than considering chamber music as music performed in a particular locale or by a certain type of performer or as written in a set form and style, I have chosen to define it by describing the music which is most commonly accepted here and in Europe today as germane (for example, see Denis Arnold, “Chamber Music,” in The New Oxford Companion to Music, Oxford/New York: Oxford University Press, 1983). Chamber music is classical European instrumental ensemble music for two to approximately twelve performers with no more than one player to a part. Music for two or more keyboard instruments without additional non-keyboard instruments, and percussion music by itself are not included. I regard non-European offshoots of the European classical tradition as relevant, but not jazz or ethnic manifestations of ensemble music because they are not in the classical European tradition. Although there have been a few chamber music bibliographies published through the years, it seems that this is the first comprehensive, annotated bibliography that includes the huge number of studies of the past quarter century. Relatively few reliable studies were written before 1950, though some of these have stood the test of time and remain standard tools. New conceptions of chamber music history, new methods of analysis, new perceptions of what xiii

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Chamber Music: A Research and Information Guide

constitutes chamber music, and the explosion in the numbers of musicologists and music theorists have inevitably brought forth an extensive new literature. To find one’s way in this array of chamber music studies is an overwhelming task, especially for the non-specialist. I hope this guide will provide useful directions. A great many facts have only recently come to light, and some interpretations are relatively new. Some readers may need to study the following pages carefully in order to correct long-standing misconceptions or nolonger tenable biases. For example, despite the convincing proof over 20 years ago that Haydn’s so-called Opus 3 quartets are not by Haydn and are probably by Hoffstetter, the authors of several recent books, in discussing Haydn’s quartets, show total ignorance of the facts. Yet one must be careful not to let historical data unduly influence taste; if a listener loved Haydn’s Opus 3, he/she should feel no shame at loving Hoffstetter. What has changed is the history of the early Haydn quartets, not their aesthetic value nor that of the now re-assigned ones. The bias against brass and some other instruments in chamber music can no longer be defended without serious omissions of what are clearly masterpieces. A great many readers and writers associate chamber music with string quartets, and certainly string quartets are the core of the repertory. But much intimate, solo-ensemble music for other combinations fulfils all the requirements of chamber music as well. For example, the Beethoven Equali have legitimate claims to be called chamber music. This is not to dictate that everyone must love these pieces as much as an Opus 59 Beethoven string quartet; it is to suggest that string quartet devotees might open their ears a bit to enhance their enjoyment of chamber music. Most of the literature in this volume refers to books, articles in journals and magazines, dissertations and theses, and essays or chapters in Festschriften, treatises, and biographies. A few prefaces to scholarly editions have been entered as well. In addition to the core literature, I have sometimes brought in more obscure citations when they are the only studies in a particular field. When there is only one study of a particular subject, it is included even if it is not especially brilliant, but when there are hundreds of possible entries (for example, under Beethoven, Bartók, Haydn or Mozart), I have tried to limit myself to the best, most recent, and more interesting ones. In general, I have concentrated on more recent works, mostly in English and German (where the bulk of the literature is), but older, pioneering studies are of course not neglected. Access to works in other European languages has been limited to what appears to be the major literature. I have tried to be as accurate as possible in the citations; where numerous, sometimes confusing, editions have appeared, I have attempted to sort them out and describe them. I have followed the spelling exactly as given on title pages; transliterations from cyrillic script follow the Library of Congress or RILM citations. I have used forms of names and biographic dates as

Introduction

xv

found in The New Grove [first edition; see 1] and the 1984 Slonimsky-Baker Dictionary [see 4]. I have been fortunate in having in hand nearly every item (except dissertations) so that I could verify contents and titles. Since few of the more than 400 dissertations and theses on chamber music or related topics have been available to me, I have relied primarily on Dissertation Abstracts International for descriptions of contents. Readers who need to study a particular thesis or dissertation can visit or write to the university where the degree was received or order a microfilm or duplicate copy from University Microfilms International in Ann Arbor (MI) giving the UM or UMI number in my entries. Any bibliography is out of date by the time it reaches press. The last items entered were on November 1, 1986, yet even some studies published before then have not reached me in time to be included. Hopefully, there are not many important omissions or any egregious errors; if there are, perhaps the reader will kindly apprise me of them so that, if further editions of this guide should appear, I can make the necessary improvements. INTRODUCTION TO THE SECOND EDITION The present volume contains over six hundred new entries, nearly all published in the fifteen years from the end of 1986 to the summer of 2001. In addition, I have made some corrections and changes to entries in the previous edition. Some readers of the first edition have been so kind as to point out both omissions and errors, and hopefully these have been attended to in this edition. Some critics have been concerned with my choice of how to order the material. I have retained the original order and therefore need to state what that is. Within any topic, I move from general studies to specific genres to studies of individual works. The order of genres and individual works is based on the numerical quantity and sometimes aesthetic priority of certain types: thus, in order, come discussions of string quartets, sonatas of all kinds, piano trios, string duos, string trios, string quintets, piano-string quintets, works for winds and strings, works for winds and piano, and works for winds alone. Not all these genres are found in all cases (for example, most composers did not write in all such genres), but the order is maintained nonetheless. The Table of Contents, Subjects Index, and running heads should help the reader find the specific type of music sought. In the decade and a half separating the two editions, the most noticeable changes in methods of musicological research have been the introduction of web sites and CD-Roms. The scholar now has instant retrieval of information in her or his office or home or car that previously took hours, days, even years to access, sometimes through extreme discomfort and difficulties. And with indexing, items are now found that were impossible to locate or even know about before. Programs such as the New Grove, Dissertation Search, and Music Index – all online – have changed the way scholars do their basic work.

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Chamber Music: A Research and Information Guide

Yet some things have not changed. These computer tools aid but do not replace scholarship – the evaluation, the thinking, and the expounding on research topics. Each individual scholar is ultimately judged on the full work of scholarship, not retrieval capacity and alacrity. With the mushrooming of individual web pages this becomes even more critical. How we judge the accuracy of web pages and evaluate them are still part of the scholar’s job. The transience of many web pages is also a problem; some appear one day and are gone the next, while others are so frequently re-written that citation of the particular page is useless to the scholar who carefully cites sources or wants to follow up other scholars’ sources. While acknowledgement is made of a few of the computer tools, this bibliography remains a discussion of oldfashioned written-out, published materials that remain fixed and accessible to all. INTRODUCTION TO THE THIRD EDITION The third edition adds nearly 600 new entries and has been renumbered to account for those additions. With these new entries, we are able to include items printed and received by the end of December 2008. In addition to being printed, this volume is also, for the first time, available online. The most significant addition to the scholarly tools for this edition is the availability now of most dissertations online.

I Basic Reference

GENERAL MUSIC REFERENCE Most music reference books have entries on the term “chamber music” itself and specific topics within chamber music such as “string quartet” and “duet.” Others with biographical information usually cover the chamber music of the major composers in the course of the general discussion. Several dictionaries and encyclopedias stand out, however, for their comprehensiveness or for the depth of their information on chamber music, and only these will be mentioned here. 1. The New Grove Dictionary of Music and Musicians, 7th ed., gen. eds Stanley Sadie and John Tyrrell. 29 vols. London: Macmillan, 1980. ML 100.N48.2001. Also online: www.grovemusic.com. This is one of the most comprehensive musical dictionaries ever written, with contributions from scholars around the world. Important articles on performers of chamber music (see Chapter 5) and on composers (where chamber music is usually listed in the course of a general discussion). Also important articles on: “Chamber Music” (Christina Bashford), “The Ensemble Canzona” (John Caldwell), “Consort” (Warwick Edwards), “String Quintet” (Cliff Eisen), “Piano Quartet” (David Fenton), “Piano Quintet” (David Fenton), “Accompanied Keyboard Music” (Michelle Fillion), “Fantasia-Suite” (Christopher D. S. Field), “Quatuor Concertante” (Janet M. Levy), “Trio Sonata” (Sandra Mangsen), “Wind Quintet” (Wolfgang Suppan), and “Piano Trio” (Michael Tilmouth and Basil Smallman). While extremely useful, the New Grove is neither perfect 1

2

Chamber Music: A Research and Information Guide

nor complete and many subjects need to be consulted in additional sources. 2. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Sachteil (Subjects): 9 vols. Personenteil (Names): 5 vols to date. 2nd ed. Kassel/New York: Bärenreiter, 1994-. ML 100.M987 1994. Includes CD-ROM version. 1st ed. by Friedrich Blume. 16 vols. Kassel: Bärenreiter, 1949–79. ML 100.M92. For German readers the best overall encyclopedia of music. Its best features are its extensive bibliographies of primary materials and of secondary literature, of which English readers can make good use as well. Articles of particular relevance to chamber music are “Kammermusik,” “Blasmusik,” “Klaviertrio,” “Streichquartett,” “Streichquintett,” “Streichsextett,” “Streichtrio,” and “Trio Sonata.” See also the articles on composers, which frequently discuss chamber music. 3. Dizionario Enciclopedico Universale della Musica e dei Musicisti, gen. ed. Alberto Basso. Il Lessico (Subject), 4 vols. Turin: Unione Tipografico—Editrice Torinese, 1983–84. ML 100.D63.1983. Though not as comprehensive as 1 and 2, it holds some articles of relevance to chamber music including “camera (Musica da),” “sonata,” “duetto,” “trio,” “quartetto,” “quintetto,” and “sestetto.” William Newman’s article on “sonata” is by far the best of these, with a huge bibliography, while most of the others are somewhat superficial with modest or mediocre bibliographies. Some other articles, with indirect relevance to chamber music, are excellent, such as Carolyn Gianturco’s “Barocco.” Le Biografie (Biographies), 9 vols. Turin: Unione Tipografico—Editrice Torinese, 1985–90. Much more impressive than the subject volumes, these include some schematic listing of the composers’ works, which makes chamber music easy to spot (for example, Boccherini). 4. Slonimsky, Nicolas, ed. Baker’s Biographical Dictionary of Musicians, 9th ed. by Laura Kuhn. New York: Schirmer, 2000. ML 105. B16.2000. ISBN 0-02-865525-7. 6 vols. lxiv + 4220 pages. 8th ed. New York: Schirmer/London: Collier Macmillan, 1992. ML 105. B16.1992. ISBN 0-0287-2415-1. 1 vol. xxxiii + 2115 pages. 1st ed. by Theodore Baker, New York: G Schirmer, 1900. A fine supplement to 1 and 2 for biographical information on chamber performers and composers and more up-to-date. The basic reference tool for biographies, though most of the entries are not as long or detailed as 1 and 2.

References

3

5. Slonimsky, Nicolas, ed. The Concise Edition of Baker’s Biographical Dictionary of Musicians, 8th ed. New York: Schirmer Books/Toronto: Maxwell Macmillan Canada/New York: Maxwell Macmillan International, 1994. ML 105.B16 1994. ISBN 0-0287-2416-X. vi + 1155 pages. An abbreviated version of 4 but very handy. 6. Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge: Harvard University Press, 1986. ML 100.R3.1986. ISBN 0-674-61525-5. xxii + 942 pages. 3rd ed. of Willi Apel, Harvard Dictionary of Music, 1st ed. 1958, 2nd ed. Cambridge, MA: Harvard University, 1969. xviii + 935 pages. ML 100.A64.1969. SBN 674-37501-7. The best 1-volume English language dictionary of musical terms, edited by a team of expert musicologists. The explanations are very brief, as opposed to much more lengthy ones in some cases in 1 and 2. The 2 most relevant articles on “chamber music” and “string quartet,” which remain unchanged for the first and second editions, have been completely rewritten for the third edition. Comparison of the earlier and present entries reflects the vast changes in concepts as well as historical detail of the past several decades. The third edition deemphasizes the idea that all good chamber music must follow a 4movement sonata form. Eugene K. Wolf ’s discussion of the string quartet is the best brief history and definition of the genre in the English language; it greatly expands the pre-1780 and 20th-century history of the string quartet and gives a much more balanced view of the Romantic quartet. 7. Randel, Don Michael. The Harvard Biographical Dictionary of Music. Cambridge (MA): Belknap Press of Harvard University Press, 1996. ML 105.H38 1996. ISBN: 0-6743-7299-9. x + 1013 pages. 8. Randel, Don Michael. The Harvard Concise Dictionary of Music and Musicians. Cambridge (MA)/London: Belknap Press of Harvard University Press, 1999. ML 100.H36.1999. ISBN 0-6740-0084-6. 757 pages. 9. Dahlhaus, Carl, and Hans Heinrich Eggebrecht, eds. Brockhaus Riemann Musiklexikon. Wiesbaden: F.A. Brockhaus/Mainz: B. Schott’s Söhne, 1978–79. ML 100.B849. ISBN 3-7653-0303-8. 2 vols. I: 699 pages; II: 732 pages. Names and subjects interspersed. There are very brief but cogent bibliographies and articles. For nearly a century, this has been the standard German short reference on all facets of music.

4

Chamber Music: A Research and Information Guide

CHAMBER MUSIC REFERENCE The most important overall chamber music reference work is: 10. Cobbett, Walter Willson. Cyclopedic Survey of Chamber Music. London: Humphrey Milford for Oxford University Press, 1929. ML 1100.C7. 2 vols. I: xii + 585 pages; II: vii + 641 pages. Cobbett’s Cyclopedic Survey of Chamber Music, Vol. III, ed. Colin Mason. London: Oxford University Press, 1963. ML 1100.C7.1963 v.3. 211 pages. Reprint Vols I–III: 1964. Despite its age, still the most useful reference work for chamber music. Most entries are by Cobbett himself but there are also major contributions by 139 others of many nationalities (Vols. I–II). Alphabetical entries on composers, performers, patrons, instruments, nationalities, conservatories, and special topics (tuning, humor, commercialism, color, atonality, quartet playing, and so on). Names include the very famous down to the most obscure composers and performers; biographies are followed in many cases by lists of works and some discussion of them. Also of value for its reflections on aesthetics and for Cobbett’s (b.1847) interjections of personal experiences with Brahms, Dvorák, and many others. Hugo Leichtentritt’s entry on “German Organizations” lists a large number of chamber groups, their dates, and their membership; Marc Pincherle does the same for French groups, and others for some other nationalities, including A.L. Goldberg on American organizations. Mason’s supplement (Vol. III) includes his “European Chamber Music since 1929,” “Chamber Music in Britain since 1929,” and “Stravinsky,” I.I. Martinov’s “Soviet Chamber Music,” and Nicolas Slonimsky’s “Chamber Music in America,” and “Additions and Corrections to Dates Given in the Original Edition,” as well as updated bibliographies and an index. 11. Campanha, Odette Ferreira, and Antonio Torchia. Música e Conjunto de Cámara. Sáo Paulo: Ricordi Brasileira, 1978. ML 1100.C29. iii + 290 pages. In Portuguese. An excellent general handbook on chamber music, including history of types, instruments, combinations of instruments, forms, seating arrangements, and so on. Brazilian chamber music and ensembles of the 19th and 20th centuries are given separate treatment. There are detailed analyses of 3 complete works, 2 by Beethoven (Op. 18, No. 3, and a piano sonata) and 1 by a Brazilian composer. Several books contain non-technical discussion of a large repertory of chamber music; although these are not designed as cyclopedias or dictionaries,

References

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they can serve as reference sources for information on chamber music. See Reclams Kammermusikführer 218 and Melvin Berger’s Guide to Chamber Music 219. 12. Coeuroy, André, and Claude Rostand. Les Chefs-d’Oeuvre de la Musique de Chambre, in Amour de la Musique: Petit Guide de l’Auditeur de Musique. Paris: Éditions le Bon Plaisir, Plon, 1952. MT 140.C633. 282 pages. An amateur listener’s non-technical guide to the standard classics of chamber music, arranged by composer. It lists 79 composers from J.S. Bach and his 4 sons to Hugo Wolf; besides famous composers, there are a few less well-known (mostly French). A brief discussion of each composer’s oeuvre, dates and titles or tempos of movements, and general characteristics of each movement are given. A catch-all with little accuracy but covering a wide territory of (German) chamber music is: 13. Lemacher, Heinrich. Handbuch der Hausmusik. Graz/Salzburg/Vienna: Anton Pustet, 1948. ML 128.C4L4. xv + 454 pages. On poor paper. A mixture of lists of works, essays, and documents relating to Hausmusik. Part I contains essays and documents on 200 years of Hausmusik, including personalities, generic lists of chamber music (trio sonatas, string quartets, and so on), and precursors back to Heinrich Isaac. It contains lists of the works of the classic composers (Haydn, Beethoven, Mozart, Schubert, Schumann, Brahms, and Reger). Part II opens with poems about chamber music, including a poetic dialogue between 2 violins, a viola, and a cello. Then follows a long list of chamber music (Hausmusik) generically organized, including concertos, piano works, and an occasional poem. Part III is vocal music. Designed for the music lover and amateur performer who is looking for available repertory. The statements about the music are essentially useless. PERIODICALS There is a large number of music periodicals that contain articles on various facets of chamber music. These can be seen on the following pages in the listings of various studies of chamber music and its history. Some of these are scholarly journals, others are theoretical, still others popular; some are devoted to a particular instrument or family of instruments or to a particular era or nationality. There are newspapers, weeklies, monthlies, quarterlies, and annuals. Only a few periodicals are devoted exclusively to chamber music and they are listed here. Since many chamber music periodicals seem to have come and gone quickly, the following is merely a sketch list.

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Chamber Music: A Research and Information Guide

14. American Ensemble. 1978–83. 6 vols, 4 numbers each vol. except I with only 2. Publication of Chamber Music America, New York. Replaced by Chamber Music Magazine in 1984. An extremely important periodical for all professional and amateur chamber musicians. It includes feature articles on performance, business aspects, new findings, activities, opportunities, premiers, and advertisements. 15. Blätter für Haus- und Kirchenmusik. 1897–1915. 18 vols, issued monthly. Langensalza (Germany). E. Rabich, editor. 16. Chamber Music, supplement to The Music Student. 1913–16. ML 5. C29. 22 numbers. Great Britain. Percy Scholes, editor. 17. Chamber Music Magazine. 1984–. Issued quarterly. Publication of Chamber Music America, New York. Succeeds American Ensemble. See description under 14. 18. Chamber Music News. 1955–62. 7 issues. Publication of New Zealand Federation of Chamber Music Societies. 19. Chamber Music Quarterly. 1982–. ML 1100.C5. Spring 1984 issue from Bellingham, Washington 98226. Includes scholarly essays, information on chamber music performances, reviews of music and books on chamber music, and advertisements. 20. Collegium Musicum. 1932. 1933–43 renamed Zeitschrift für Hausmusik. After World War retitled Hausmusik (2). 21. The Consort. 1929–. Annual (except 1 issue for 1968–9). Publication of the International Society for Early Music and Instruments, London, etc. Originally, a publication of the Dolmetsch Foundation. 22. Devotée: The Magazine for Chamber Music Players and Listeners. Vol. I, No. 1 (Spring, 1979). Vol. II, No. 3 (March–April, 1981) only copy seen. Troy (New York). ML 1100.D48. 23. Der Dilettant. 1909–38. From 1910 entitled Hausmusik (1). Munich. 24. The Ensemble News. Spring 1926–Summer 1927. Hausmusik (1). See Der Dilettant. Hausmusik (2). Continuation of Zeitschrift für Hausmusik, 1946–61. 25. Die Kammermusik: Zeitschrift für Pflege der Instrumentalmusik unter besonderer Berücksichtigung des Kammerstyls. 1897–1901. 5 vols. Heilsbronn (Vol. V Düsseldorf). A. Eccarius-Sieber, editor.

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26. La Musique de Chambre. 1923–25. France. Zeitschrift für Hausmusik. 1932–43. See Collegium Musicum and Hausmusik (2). BIBLIOGRAPHIES Bibliographies of chamber pieces are listed here. Bibliographies of studies on historical matters can be found in Chapters II and VI and on analytical matters in Chapter III. The principal bibliographies of studies of performance practice by Newman 2471, Garretson 2472, Rutan 2474, and Squire 2473 are in Chapter IV. 27. Saltonstall, Cecilia Drinker, and Henry Saltonstall, eds. Books about Chamber Music and Other Books of Related Interest. New York: Amateur Chamber Music Players Inc., 1986. ML128.C4S24.1986. 9 pages. An annotated bibliography of books in English about chamber music, chamber musicians, instruments often used in chamber music, and miscelaneous topics that somehow relate to chamber music (for example, Harold Barlow and Sam Morgenstern’s A Dictionary of Musical Themes and Arthur H. Benade’s Fundamentals of Musical Acoustics). General Bibliographies 28. Altmann, Wilhelm. Chamber Music Literature: Catalogue of Chamber Music Works Published since 1841. Leipzig: C. Merseburger/New York: C. Fischer, 1923. ML128.C4A53.1923. viii + 170 pages. German title, 1st, 2nd, and 3rd eds: Kammermusik-literatur: Verzeichnis von seit 1841 erschienenen Kammermusikwerken. 1st ed. 1910. ML128.C4A5. 2nd ed. 1918. 3rd ed. rev. and enl. Leipzig: Carl Merseburger, 1923. German title 4th, 5th, and 6th eds: Kammermusik-Katalog: ein Verzeichnis von seit 1841 erchienenen Kammermusikwerken, 1931, 1942, and 1945. Reprint 1945 ed.: Hofheim am Taunus: Hofmeister, 1967. Designed not as a thorough bibliography but as a handy list of available chamber music editions published from 1841 to 1923. No distinction is made between great composers and insignificant ones; composers before 1841 are well represented in later editions. Systematically presented: I: Chamber Music for Strings and Winds; II: Chamber Music for Pianoforte; III: Chamber Music for Harp and Other Instruments, and IV: Chamber Music with Voice. For updating see 40. 29. Altmann, Wilhelm. “Zu Unrecht vergessene Kammermusikwerke,” in Neue Musik Zeitschrift 1950, 89–91.

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Lists 25 composers—some famous, some obscure—and their unjustly neglected chamber works. Includes music by Cherubini, Glazunov, Glière, Goldmark, d’Indy, Raff, Anton Rubinstein, Saint-Saëns, Schumann, Spohr, and Weingartner, among others. 30. Tranchefort, François-René, ed. Guide de la musique de chambre. Paris: Fayard, 1989. MT140.G95x.1989. viii + 995 pages. A handy reference guide to chamber works and composers. Composers are listed alphabetically with a paragraph biography. Then there is a brief review of each composer’s chamber music, followed by a movement-by-movement description, frequently with short musical examples and an approximate duration of the whole piece. A glossary and index also help the reader. The composers range in time from Corelli to Stockhausen but the guide is only sketchy in the preHaydn eras. Some modern French composers are mentioned who are ignored in other guides. 31. Allihn, Ingeborg, ed. Kammermusik, Vol. 1. Leipzig: Deutscher Verlag für Musik, 1988. ISBN 3-3700-0248-5. 743 pages. Information about major and not-so-major chamber music arranged by composers alphabetically from A to G; subsequent volumes were never published. Includes biographies, work lists, overall style analysis of the complete chamber music oeuvre, and specific analyses of individual works. 32. Allihn, Ingeborg, ed. Kammermusikführer. Stuttgart: J.B. Metzler/ Kassel: Bärenreiter, 1998. ISBN 3-4760-0980-7 (Metzler); 2-76182006-2 (Bärenreiter). xxvii + 706 pages. Similar to but not the same as Allihn 1988. This volume has the complete alphabet but there are some different composers in the section from A to G. For example, Albinoni and Calderon are in 1988 but not in 1998, while Antheil and Elgar are in 1998 and not in 1988. Furthermore, not all the pieces discussed are the same; Debussy’s String Quartet and Beethoven’s Op. 18 Quartets, for example, are discussed in 1988 but omitted altogether in 1998. A very useful guide, of interest to specialists as well as players and students. Includes many contemporary composers from the Eastern bloc who are not included in any other chamber music inventory. 33. Cohn, Arthur. The Literature of Chamber Music. 4 vols. Chapel Hill: Hinshaw Music, 1997. ISBN 0-937276-16-2. ML1100.C65.1997. xviii + 3075 + i pages. The most comprehensive guide to the chamber music repertory, it replaces the works of Cobbett, Berger, and Allihn in terms of mere

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listings but does not describe the pieces in anywhere near the detail that they do and does not include biographies, timings, publication information, or discography. 34. Rangel-Ribeiro, Victor, and Robert Markel. Chamber Music: An International Guide to Works and Their Instrumentation. New York/ Oxford: Facts on File, 1993. ML128.C4R3.1993. ISBN 0-8160-22968. xiv + 271 pages. A quick reference guide in table format to many chamber music pieces by composers from the early 17th to late 20th centuries. It helps performers find works to perform for a specific scoring. The book is in 2 sections: to Mozart and Haydn, and since Mozart and Haydn. In each section, composers are listed alphabetically with dates, and then their compositions are listed. From the table, the reader learns the scoring, key, direction, and publishing dates—if known. The book includes not only chamber music but works for chamber orchestra and vocal music. 35. Stein, Franz A. Verzeichnis der Kammermusik von 1650 bis zur Gegenwart, in Dalp-Taschenbücher, Band 360. Bern/Munich: Francke, 1962. ML 128.C4S7x. 107 pages. A practical list arranged by composer, then genre. Includes string, wind, and some solo keyboard music. Gives title of collection, date of composition or first edition, titles of individual pieces with key, opus number, movements, and scoring. Most composers are wellknown; a small number of 20th-century composers are less well-known, but even here most of them are the expected ones: Hindemith, Stravinsky, Ravel, Roy Harris, Samuel Barber, and so forth. 36. Hillman, Adolf. Kammarmusiken och dess mästare intill 1800-talets början: jämte Förteckning över Kammarmusikkomponister intill Nuvarande Tid. Stockholm: Wahlström & Widstrand, 1918. ML 1100.H45. 129 pages. The first half of the book is an intelligent, though undocumented and dated history of chamber music influenced by Nohl 684 and Kilburn 221. The second half is a list of composers of European and American chamber music from 1600 to 1918, including many obscure names but not weighted toward Scandinavia. 37. National Music Camp. The Interlochen List of Recommended Materials for Instrumental Ensembles. 1st ed. 1946. 3rd ed. Interlochen (Michigan): no publisher, 1953. ML 132.C4I6 (ML 132.A2N37.1953). 61 pages. Divided into 4 categories: strings, woodwinds, brass, and mixed string + winds including saxophone and piano. Each subdivided by

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Chamber Music: A Research and Information Guide

number of players and scoring. Data on composer, short title, scoring, publisher, and difficulty. Impressive for its length, organization, quality of entries, and varieties of scorings. Conceived as an updating not only of the 2 previous editions but also of the National School Band Association list. 38. National School Band, Orchestra and Vocal Association. Instrumental Ensembles: Woodwind, Brass, String and Mixed: Graded Lists of Recommended Materials. Chicago: n.p., 1948. ML 132.C4N3. 39 pages. A large and significant list of chamber works for students, professionals, and devotees. It is organized by scoring under 4 main headings: woodwind, brass, mixed string-wind, and string. See Adams 453 for a list of quartets and quintets for mixed groups of winds and strings by late-18th-century composers. 39. Waln, George E., Chairman. Materials for Miscellaneous Instrumental Ensembles: Prepared by the Committee on Literature and Interpretation of Music for Instrumental Ensembles. Washington, D.C.: Music Educators National Conference, 1960. ML 128.C4M9. 89 pages. Lists of chamber works organized by strings, woodwinds, brass, and percussion, then by size of ensembles, and then by composer. There is information on title, publisher, difficulty, scoring, and some elementary observations on suitability for students. The brass category includes voice and short discography. Some arrangements. Famous as well as minor composers are included. 40. Richter, Johannes Friedrich. Kammermusik-Katalog: Verzeichnis der von 1944 bis 1958 veröffentlichten Werke für Kammermusik und für Klavier vier-und sechshändig sowie für zwei und mehr Klavier. Leipzig: Friedrich Hofmeister, 1960. ML 128.C4R55. 318 pages. A huge, detailed catalogue of chamber music published from 1944 to 1958, arranged generically from a10 down to a1 for winds and strings mixed or alone; from sextets to duets for piano with winds and/or string; for plucked strings in various combinations to solos; for accordion with other instruments or alone; and vocal chamber music and piano chamber music without winds and strings, including piano solos and arrangements. Information includes brief title, scoring, publishing data, and original dates. This is conceived as a continuation of Altmann’s chamber music catalogue 28. 41. American Music Center. Chamber Music by Contemporary Composers. New York: American Music Center, 1954. ML 128.C4A6. 16 pages.

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List of chamber music by composers of the first half of the 20th century of different nationalities. The music was selected on the basis of its quality and its serviceability to performers, teachers, students, and music organizations. It is organized by instrument class, and then by genre. There is information on composer, title, publisher, cost in 1954, and sometimes duration. A list of 12 publishers is given at the beginning with addresses. This is a useful list but by no means exhaustive, replaced by the numerous specialized bibliographies of later times. A similar list by Ray Green is published in American Music Teacher, ii (March–April, 1953), 6–7 and 18–21. 42. de Lerma, Dominique-René. “Bibliography of the Music: The Concert Music of the Harlem Renaissance Composers, 1919–35,” in Black Music in the Harlem Renaissance: a Collection of Essays, Samuel A. Floyd Jr., ed., in Contributions in Afro-American and African Studies, Vol. 128 (New York: Greenwood Press, 1990), pages 175–217. The bibliography includes chamber music written by the Harlem Renaissance composers J. Harold Brown, William Levi Dawson, R. Nathaniel Dett, Edmund T. Jenkins, Florence Price, Clarence C. White, and Frederick J. Work. For a list of 20 quintets for clarinet with string quartet by women composers, see 2777. 43. Mazzeo, Rosario. A Brief Survey of Chamber Music for Small Groups. Boston: The Cundy-Bettoney Co., 1937. 2nd ed. 1938. ML 128. C4M3. 16 pages. Highly selective list of chamber music involving winds, compiled by a clarinetist of the Boston Symphony Orchestra. Includes strings and piano but always at least 1 wind. Information is given on composer, title, scoring, arranger and arrangement, character, and difficulty. There are a few works with voice at the end. 44. Schaffner, Anne. Expandable Chamber Music at Various Levels: a Source Book for Performers and Teachers. Austin (Texas): privately printed by author, 1982. ML 128.C4S32.1982. 45 unpaginated pages. Short list of chamber music including ensembles of unlike (standard) instruments where the number of performers can be changed ad libitum “without loss of solo and ensemble feeling.” It gives composer, title, source (manuscript or publisher), and range of performers: mostly contemporary American or arrangements of Bach, Vivaldi, and others.

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45. Schumann, Otto. Schumanns Kammermusikbuch. Wilhelmshaven: Hermann Hübener, 1951. MT 140.S32. 538 pages. 2nd ed. Handbuch der Kammermusik, 1956. Reprint 1970. MT 140.S32.1970. 557 pages. A handbook for laypersons consisting of a list of 71 composers of chamber music arranged chronologically from Rosenmüller to Messiaen, with biographical information and brief, non-technical commentary on overall chamber music style and on specific pieces. The author adds a much longer list at end. This book is very strong on now somewhat obscure as well as famous composers, mostly German, of the late 19th century to c.1950. 46. Cosme [Come?], Luiz. Música de Câmera. Rio de Janeiro: Ministério da Educaçao e Cultura, Serviço de Documentaçáo, 1961. ML 1100. C77. 143 pages. In Portuguese. An outgrowth from weekly radio programs, this is a commentary on 40 composers of chamber music from J.S. Bach to William Walton. It includes lists of each of their major chamber music pieces and a selected discography. For the layperson. 47. Baldwin, Lillian. A Repertory of Chamber Music. Cleveland: Lillian Baldwin typewritten copy, 1944. MT 140.B3. 77 pages. List of 19 pieces of chamber music by 15 composers with naive analyses of each. This is a standard repertory except for Charles Huguenin’s Second Trio for Oboe + Clarinet + Bassoon, Op. 31. 48. Helm, Everett. “New Chamber Music,” in Musical America, lxxxii (April, 1962), 58. A brief description of difficulty, style, texture, and form of a few new works by Lou Harrison, Ned Rorem, Chou Wen-Chung, Paul Pisk, David Diamond, Earle Brown, and François Devienne, as well as works by older composers such as Danzi and Haydn. For most bibliographies of chamber music pertaining to a specific nationality, see the last section in Chapter II. An additional list is in 197. Some libraries and specific collections of importance to chamber music have been inventoried, among which are the following: 49. Clinton, Ronald Dale. “The Edwin Bachmann Collection at the University of Texas at Austin: Perspectives on the Solo and Chamber Music with Keyboard.” DMA dissertation. University of Texas, 1984. UMI DA83–19553. DAI xliv.4A, p. 903. 81 pages. A discussion of the Bachmann collection, of music printing used in the editions in the collection, and of the early Beethoven editions in

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the collection that apparently are the principal items in it. This dissertation discusses at length the early Breitkopf and Härtel edition of Op. 12, No. 1 (Solo Piano Sonata) and compares it to later editions. An appendix has a list of the complete collection, including chamber music. 50. Eddy, Marmee Alexandra. The Rost Manuscript of Seventeenth-Century Chamber Music: A Thematic Catalog. Warren (MI): Harmonie Park Press, 1989. ML135.E3.1989. ISBN 0-8999-0047-0. xxxii + 83 pages. Originally “The Rost Codex and its Music” PhD dissertation. Stanford University, 1984. UMI 84–20518. DAI xlv.6A, p. 1567. 304 pages. The Rost Codex (in the Paris Bibliothèque National, Mus. Rès. Vm7673) is a 17th-century collection of instrumental chamber music in 3 part-books (violin, violin, organ). It contains c.150 pieces, composed from before 1649 to c.1675 and compiled in Baden-Baden and Strasbourg by François Rost c.1660–c.1680. They are mostly trio sonatas (2 violins + continuo) by German and Italian composers like Schmelzer and Cazzati. This is an important historical document for the trio sonata; it considers concordances, styles, and the biography of Rost. It is an excellent presentation, with musical incipits, concordances, and modern editions. 51. A Catalogue of the String Music Library of Gustave Schirmer, Kneisel Hall, Blue Hill, Maine. No publication information. ML 138.S34. i + 12 pages. A simple list of chamber music, by genre and scoring, in the private possession of one of the leading chamber music patrons of the late 19th century, Gustave Schirmer (1864–1907). Mostly string quartets, trios, and a few duets. 52. Christensen, James. Chamber Music: Notes for Players. Plantation (FL): Distinctive Publishing Corporation, 1992. ISBN 0-9429-6323-7. MT728.C48.1992. viii + 244 pages. Listings of famous string chamber pieces categorized by String Quartets, Works for Five or More Strings, and Strings with Piano: Piano Trios, Quartets, and Quintets. Alphabetical listings of composers are given under each category, followed by a chronological ordering of the works. This is a useful guide for string ensembles of the basic repertory from Haydn to Barber, but the comments about the pieces are inane except insofar as they warn players about the difficulty of the pieces. 53. Detroit Public Library, Music and Drama Department. Music for Orchestra and Chamber Music. Detroit: Detroit Public Library, 1929. NL v.2.225. 58 pages.

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List of a sizeable collection of chamber scores and parts in the Detroit Public Library, partially acquired from the estates of the violinist Maud Powell in 1923 and the conductor-violinist Theodore Spiering in 1925. The list is organized by number of players (trios to nonets) and scoring; it gives only composer, title, and publisher. For an inventory of wind ensemble music in the Oettingen-Wallerstein Hofkapelle library, see Jon Piersol’s dissertation 393. 54. Composers Guild of Great Britain. Chamber Music by Living British Composers. London: British Music Information Centre (26 Berners Street, London, W1T 3LR), 1969. ML 120.G7B74. ii + 42 pages. This list of published and unpublished chamber works for 3 or more instruments by more than 250 British composers living in 1969 is housed in the British Music Information Centre, 10, Stratford Place, London W.1. It gives the birthdate of each composer, title and date of composition, scoring, duration, publisher if any, and how the material may be used (for rent or sale). 55. British Broadcasting Corporation. BBC Music Library: Chamber Music Catalogue: Chamber Music, Violin and Keyboard, Cello and Keyboard. London: J. Smethurst and Novello, 1965. ML 128. C4B7.1965. xix + 612 pages. A catalogue of the BBC’s extensive chamber music holdings of scores and parts. Within broad sections, an alphabetical list is given by composer (or title if anonymous), followed by title, scoring, publisher, date of publication, and BBC shelf numbers. 56. Chester, J. and W. A Complete Handbook and Guide to Chamber Music. London: J. and W. Chester, 1923. ML 128.C54C45. 36 pages. Suppl. 1 (September 1923), 2 pages. Suppl. 2 (September 1924), 2 pages. Suppl. 3 (September 1925), 2 pages. Suppl. 4 (September 1926), 1 page. Chester provides a systematic list of chamber music from nonets to duets without piano, and piano octets to piano duets with violin or cello. He also gives a short list of wind chamber music. He covers music from the 17th to the 20th century, great and obscure composers, and all European nationalities. This is a catalogue of the J. and W. Chester Lending Library, which opened in 1915 with the aim of obtaining every piece of chamber music in print, whether worthy or not (the library recognized that taste changes). It contains over 2,000 items. 57. Famera, Karen McNerney, ed. Catalog of the American Music Center Library, Vol. 2: Chamber Music. New York: American Music Center, 1978. ML 120.U54A7. ISBN 0-916052-04-4. xv + 164 pages.

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Important catalogue of the New York-based library containing 20thcentury chamber music by American composers. It is organized in 3 parts: instrumental, with voices, and miscellaneous (including multimedia). It is systematically arranged, with information on composer, title, scoring, publisher, number of pages, and duration. There are 2,735 titles. While not including all chamber music of the composers listed, it contains many works not listed elsewhere, especially by lesser-known American composers. 58. Australia Music Centre. Catalogue of Instrumental and Chamber Music. Sydney: Australia Music Centre, 1976. ML 120.A86A93. ISBN 0-909168-01-6. vi + 147 pages. A catalogue of music by Australian composers in the Music Centre’s library in Sydney. In 2 parts: the second—chamber music—comprises nearly all the catalogue. Works are listed by composer (birth dates given), then title, date of composition, duration, publisher, and scoring. 59. New South Wales State Conservatorium of Music Library. Catalogue of Chamber Music 1960. Sydney: NSWSCM, 1960. ML 136. S97N5. 79 pages. List of works from solos to octets for strings with or without piano, songs with strings, and wind ensembles. It gives shelf number, composer, title, scoring, and publisher. 60. Mallows, Katherine. Chamber Music by South African Composers in South African Libraries. Cape Town: University of Cape Town, 1979. ML 120.S58M3. ISBN 0-7992-0304-1. viii + 88 pages. Publication of Librarianship Diploma thesis. University of Cape Town, 1977. List of manuscripts and prints of South African chamber music. It gives scoring, composer with dates, title, location of score, size of score or parts, movements, and some other data. 61. Russell, John F. List of Chamber Music in the Henry Watson Music Library. Manchester: Henry Watson Music Library, 1913. ML 136. M2H32 No.2. vi + 143 pages. A catalogue in 2 parts: by scoring and by composer in alphabetical order. The music is mostly for strings and piano, with a few wind pieces. The catalogue gives title and in a few cases publisher. This is in a public library in Manchester, England. 62. Holecek, Jaroslav, ed. J.A. Seydl Decani Beronensis Operum Artis Musicae Collectio: Catalogus, in Catalogus Artis Musicae in Bohemia et Moravia Cultae, No. 2. Prague: Supraphon, 1976. 201 pages. In German, Czech, and English.

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A thematic catalogue of 585 chamber pieces (mostly violin music) once owned by J. A. Seydl (1775–1837) and now in the Bezirksarchiv Beroun (Bohemia). 63. Mitterschiffthaler, Karl. Das Musikarchiv des Stiftes Vorau: Die Handschriften (18.-20. Jh.). Tabulae musicae austriacae, No. 15. Vienna: Österreichische Akademie der Wissenschafte, 2006. ISBN 9783700137344. 370 pages. A thematic catalogue of the large musical holdings of the Vorau Monastery in Austria, which, besides much vocal religious music, contains original or arranged printed and manuscript chamber music for 2 to 5 instruments. This is an important new source of 18th-to 20th-century Austrian chamber music. 64. Rasch, Rudolf. “I Manoscritti Musicali nel Lascito di Michel-Charles le Cène (1743),” in Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695–1764), ed. Albert Dunning (Lucca: Libreria Musicale Italiana, 1995), pages 1039–70. Rasch describes an inventory of music owned by le Cène in Amsterdam. The inventory includes chamber music by Albinoni, Alberti, Valentini, and others. It is of interest primarily to scholars. 65. Stevens, Denis. “Seventeenth-Century Italian Instrumental Music in the Bodleian Library,” in Acta Musicologica, xxvi (1954), 67–74. A list of works in the Bodleian Library, arranged alphabetically by composer, with date, opus number, publishing data, number of volumes, and shelf number. It includes a large number of sonatas and divertimenti. 66. Lippmann, Friedrich, and Ludwig Finscher. “Die StreichquartettManuskripte der Bibliothek Doria-Pamphilj in Rom,” in Studien zur italienisch-deutschen Musikgeschichte, vi, in Analecta Musicologica, vii (1969), 120–44. A scholarly inventory of string quartet manuscripts from the last third of the 18th century, with a list of the themes of all the movements and concordances. Composers include Federico Abel, Michele Barbici, Boccherini, Giuseppe Demachi, Anton Kammel, Josef Myslivecek, Pugnani, and Antonio Vanhs ( = Jan Krtitel Vanhal). 67. Rowen, Ruth Halle. Symphonic and Chamber Music Score and Parts Bank (City University of New York). Stuyvesant (NY): Pendragon, 1996. ISBN 0-9451-93-84-x. xii +331 pages. A list of facsimile scores of chamber music in the Barry Brook Archive from 18th- to early 19th-century sources.

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The following bibliographies are designed to assist those wishing to build a library: 68. Forsyth, Ella Marie. Building a Chamber Music Collection: a Descriptive Guide to Published Scores. Metuchen (NJ)/London: The Scarecrow Press, 1979. ML 128.C4F7. ISBN 0-8108-1215-0. xix + 191 pages. An annotated, selective bibliography of basic chamber music, systematically arranged. This work includes primarily the most popular music, and only in wind music ensembles do many lesser-known names appear. It gives information about publishers of currently available scores and parts, references to analyses in Cobbett 10, Tovey 206 and a few other books, and a few assessments of the difficulty of performance and moods in the music. It is designed for the librarian who wishes to build a music library. 69. Forbes, Watson. Catalogue of Chamber Music. London: National Federation of Music Societies, 1965. ML 128.C4F67. 68 pages. Selected lists of chamber music a3 to a9 or a10. Section I gives the basic classics and contemporary works popular in England. It lists composers with dates, titles, duration, tempos of movements, scoring, and publisher. Section II contains easy works for the beginner (marked with “a”) and more challenging works for advanced players (marked with “b”). It is designed to help music clubs build programs and performers find repertory. Several bibliographies are designed especially for the amateur “Hausmusikant”: see also Lemacher and Schmidt’s Almanach der Hausmusik 689 and Bruno Aulich’s Alte Musik für Hausmusikanten 2466. Bibliographies of specific types of chamber music vary in scope 70. Vidal, Antoine. Les Instruments á Archet: les Feseurs, les Joueurs d’Instruments, leur Histoire sur le Continent Européen: suivi d’un Catalogue Général de la Musique de Chambre. 3 vols. Paris: n.p., 1876–78. Reprint London: The Holland Press, 1961. ML 755.V53L4. 3 vols. I: xvi + 357 pages; II: vi + 383 pages; III: vii + 160 pages. Particularly valuable for its bibliography of chamber music in Vol. III. Though dated and incomplete, it nonetheless is so large as to contain many names not encountered in any other chamber music list. Vol. I: history of bowed string instruments, their makers, and some of the players. Vol. II: history of the players concluded, history of cellists, and a list of cellists from “the beginning” to B. Romberg with brief biographical information. Vol. III: history of music printing, biographies of composers of chamber music, catalogue of

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chamber music for bowed strings a2 to a10, and a list of violinistcomposers in Italy in the 16th and 17th centuries. The biographies are also dated but, in some cases, the best that are available. Originally designed for both layperson and scholar, it would serve as secondary reading for the same clientelle today. 71. Horne, Aaron, ed. String Music of Black Composers: A Bibliography, in Music Reference Collection, No. 33. Westport (CT): Greenwood Press, 1991. ISBN 0-3132-7938-1. ML128.B45H7.1991. xx + 327 pages. A list of string music by Black composers arranged first by geography: African, Afro-American, Afro-Latin, and Afro-European— then alphabetically by composer, including a brief biography, title of the work, scoring, and publisher. There are also useful indices. It includes a bibliography of writings about the music. 72. Wilkins, Wayne. Index of Violin Music (Winds) Including Index of Baroque Trio Sonatas. Magnolia (AR): The Music Register, 1973. ML 128.V4W5. ii + 38 + 14 pages. Supplements 1976–7 (ii + 15 pages) and 1978 (ii + 25 pages). Systematic list of works for violin with woodwinds, a2 to more than 10 instruments. Information is limited to composer, title, scoring, and publisher. 73. Farish, Margaret K. String Music in Print. 2nd ed. New York/ London: R.R. Bowker Company, 1973. ML 128.S7F4.1973. ISBN 0-8352-0596-7. 1984 suppl. In Music-in-Print Series (Philadelphia: Musicdata, Inc., 1984), ML 128.S7F4.suppl., ISBN 0-88478-016-3, xiii + 262 pages. 1st ed. 1965; suppl. 1968. Almost entirely chamber music. This is the most comprehensive and significant current bibliography of string chamber music. It is listed by scoring, then alphabetically by composer (1984 suppl. adds dates), but gives only title and publisher. There is an index and list of publishers. 74. West, Charles Wayne. “Music for Woodwinds and Strings, Five to Thirteen Players, Composed between ca.1900 and ca.1973: a Catalogue of Compositions and Analyses of Selected Works by Composers Active in the United States after 1945.” DMA dissertation. University of Iowa, 1975. UMI 76–2204. DAI xxxvi.8A, p. 4844. xvi + 257 pages. This dissertation includes a catalogue of works, published and in manuscript, for large woodwind + string ensembles, and an historical study of the development of these ensembles in the 19th century. West analyzes in detail 10 works written in the 20th century.

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75. Voxman, Himie, and Lyle Merriman. Woodwind Ensemble Music Guide. Evanston: The Instrumentalist Co., 1973. ML 128.W5V7. viii + 280 pages. An extensive list of woodwinds in ensemble with other woodwinds, brass, string, percussion, and tape. It is organized by number of players (2 to 13), scoring, and alphabetically by composers. It gives information on title and publisher. There is a list of 262 publishers at the end. String Quartets 76. Parker, Mara E. String Quartets: A Research and Information Guide. New York: Routledge, 2005. ISBN: 0415941768. viii + 370 pages. An excellent companion volume to the present chamber music book. Although there are many duplications, Parker has focused solely on the string quartet literature—writings on the history, definition, bibliographies, composers, performance and performers of the string quartet. In addition, she includes lists of facsimile and critical editions not in this book. Parker also has organized her material differently, with writings listed alphabetically by author within each category. Since there are some specialized studies on the string quartet not included in the chamber music book and since Parker concentrates on the 1 subject, the reader interested in the string quartet is advised to consult Parker’s thorough and careful work too. 77. Gruhle, Wolfgang. Streichquartett-Lexikon: Komponisten Werke Interpreten. 1st ed. Gelnhausen: TRIGA, 1996. ISBN 3-931559-11-4. ML105.G788S7. 232 pages. 2nd ed. 1999. ISBN 3-931559-32-5. New ed. Gelnhausen: TRIGA, 2005. ISBN 3897740494. 348 pages. A convenient handbook that gives an alphabetical listing of composers of string quartets, an alphabetical listing of string quartet ensembles, and a timeline of the composers grouped by country. The list of composers gives the composers’ dates, the number of string quartets, the dates of the quartets, and special titles or opus numbers. The list of ensembles gives the dates of the ensembles’ existence, the names of the members of the ensembles, and the dates of membership of each player. Although it is a handy list and has many obscure as well as prominent composers and players, there are a few inaccuracies (Haydn did not write 78 or 81 quartets) and omissions (some ensembles omitted include the Paganini, Schneider, Ferri Roth, and Stradivarius Quartets).

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78. Altmann, Wilhelm. Handbuch für Streichquartettspieler: ein Führer durch die Literatur des Streichquartetts. 1st ed. Berlin: M. Hesse, 1928–29. 3 vols. 2nd ed. Wilhelmshaven: Heinrichshofen’s Verlag, 1972–4. 4 vols. MT 140.A582. ISBN 3-7959-0112x. I:340 pages; II: 354 pages; III: 373 pages, IV: 234 pages. Vols. I and II discuss all major and many minor composers of string quartets chronologically. An intelligent, useful guide, it gives composers’ dates and dates of known quartets, and discusses each quartet briefly. Vol. III covers the same for trios, quintets, sextets, septets, and octets for strings only. Vol. IV covers works for strings + winds. This handbook is especially strong on obscure composers c.1880–1920s. 79. Stegmüller, Jügen. Das Streichquartett: eine internationale Dokumentation zur Geschichte der Streichquartett-Ensembles und StreichquartettKompositionen von den Anfängen bis zur Gegenwart. In Quellenkataloge zur Musikgeschichte, Vol xl, ed. Richard Schaal. Wilhelmshaven: Florian Noetzel Verlag, 2006. ISBN 3-7959-7802. 420 pages. A monumental catalogue of all known string quartet ensembles from 1766 to 2006 and an equally monumental catalogue of all known composers of string quartets during that time. Of the 2,120 ensembles found, detailed data is presented on 1,625 of them. About 4,425 composers of string quartets have been identified and listed alphabetically by family name, with their birth and death dates, nationality, titles of their quartets, first performances, publishers, and other pertinent data given when known. 80. Altmann, Wilhelm. Kleiner Führer durch die Streichquartette für Haus und Schule, in Hesses Handbücher der Musik, Band 102. Berlin-Halensee/Wunsiedel: Deutsche Musikliteratur-Verlag, 1950. MT 140.A5823. 166 pages. A simple review of “easy” string quartets by the masters as well as many minor composers. The appendix lists “easy” string trios. 81. Lawrence, Ian. The Twentieth-Century String Quartet: An Historical Introduction and Catalogue. Lanham (MD): Scarecrow Press, 2001. ISBN 0-8108-4002-2. xv + 625 pages. An exhaustive, alphabetical listing of composers of string quartets in the 20th century giving birth and, where relevant, death dates of the composers, their nationality, the quartet number, the title and/or opus number if there is one, and the publisher. For good reason, Lawrence begins the 20th-century string quartet with Debussy’s in 1893. Appendices give the composers by country, more information about

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the more famous composers, and an alphabetical list of publishers. The book ends with a useful bibliography. 82. Chapman, Roger E. “The American String Quartet: 1924–1949.” MA thesis. University of California at Los Angeles, 1950. 102 pages. Lists more than 400 quartets, both printed and in manuscript. “American” is defined as any composer native and foreign born who writes a quartet in the United States. Also includes a discussion of style, form, and techniques in representative samples. 83. Taylor, Matthew. “More Four.” The Strad, cxvii, No. 1393 (May 2006). 40–4. A brief survey of the string quartets written by English composers from 1991 to 2006. It includes works by David Matthews (b.1943) (Nos. 6–10); John Pickard (4 quartets); Hugh Wood (b.1932) (No. 4); Martyn Harry (b.1964) (a single quartet); Robert Saxton (b.1953) (2 quartets); Nicholas Maw (b 1935) (No. 3); John Casken (b.1949) (No. 2); Robin Holloway (b.1943) (a single quartet), and several others. A good source for ensembles looking for new repertory. Sonatas 84. Berger, Melvin. Guide to Sonatas: Music for One or Two Instruments. New York: Anchor Books, 1991. ISBN 0-3854-1302-5. x + 208 pages. An alphabetical listing of 35 famous composers, with a biography placing the sonatas in the context of each composer’s life. Some prolific composers of sonatas have separate sections for each type of sonata (by scoring). The descriptions are non-technical, and the book is designed for those just being introduced to the music. For the most extensive list of 17th-century Italian violin composers and their sonatas, see Willi Apel’s Die italienische Violinmusik and related article 308. For a list of 17th- and 18th-century violin sonatas in editions published in Europe 1850–99, see Volker Freywald’s monograph 334. For lists of a large number of French violin sonatas from Lully to Viotti, see La Laurencie’s book 322. 85. Loft, Abram. Violin and Keyboard: The Duo Repertoire. New York: Grossman Publishers, 1973. ML 1165.L635V6. ISBN 0-670-74700-9. 2 vols: I: xiv + 360 pages, 312 musical examples (from the 17th century to Mozart); II: xii + 417 pages, 408 musical examples (from Beethoven to the present).

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Primarily an annotated bibliography designed for the performer who is looking for repertory and some explanation of that repertory. There is little biographical information; the thrust is on the technical violin + keyboard achievements or problems of each piece and some concern with variant sources, ornamentation, and performance suggestions. The repertoire before 1950 is extensive; that of 1950–73 is highly selective. 86. Pedigo, Alan. International Encyclopedia of Violin-Keyboard Sonatas and Composer Biographies. 2nd ed. rev. and enl. Booneville (AR): Arriaga Publications, 1995. ISBN 0-9606-3562-9. ML102.V45P4.1995. viii + 341 pages. A very dangerous book that should be avoided by beginners and uninformed readers. Full of factual and conceptual errors, its best aspect is an attempt to include “sonatas” by composers worldwide, with biographies of obscure third-world musicians. But given the errors in the rest of the book, these curiosities should be subject to careful scrutiny. Pedigo is a violinist who disparages scholarship and, therefore, is a failure when he attempts to be a scholar or a theorist. He has attempted too much without the discipline to accomplish anything. For an index of Baroque trio sonatas, see 142. For a list of cello sonatas, see Gertrude Shaw’s “The Violoncello Sonata Literature in France during the Eighteenth Century” 328. 87. Fisher, Huot. “A Critical Evaluation of Selected Clarinet Solo Literature Published from January 1, 1950 to January 1, 1967.” AMD dissertation. University of Arizona, 1970. UMI 70–13730. DAI xxxi.3A, p. 1308. 146 pages. Among the 514 pieces examined are 104 sonatas, sonatinas, or suites for clarinet + piano; 13 are annotated in some detail (brief stylistic and formal analyses, some performance factors, and critical comments on editions). Also annotated are 10 of the 286 other pieces for clarinet + piano. 88. Bartlett, Loren Wayne. “A Survey and Checklist of Representative Eighteenth-Century Concertos and Sonatas for Bassoon.” PhD (performance) dissertation. University of Iowa, 1961. UM 61–5544. DA xxii.12, p. 2815. 247 pages. An annotated list of over 120 works (sonatas and concertos), with thematic index, biographical information on the composers, information on location of works, and brief formal and stylistic analyses. It opens with a history of the bassoon to c.1800, and emphasizes the 1,645 bassoon sonatas of Giovanni Antonio Bertoli.

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89. Houser, Roy. Catalogue of Chamber Music for Woodwind Instruments. 1st ed. Bloomington (IN): Indiana University School of Music, 1962. Reprint New York: Da Capo, 1973. ML 128.W5H7.1973. ISBN 0-306-70257-6. xx + 159 pages. An extensive, practical catalogue of college woodwind ensembles from trios with or without piano up to more than 10 instruments. It includes instructions for student performers on how to play chamber music and gives details of publishers. Wind Ensembles 90. Secrist-Schmedes, Barbera. Wind Chamber Music for Two to Sixteen Winds: An Annotated Guide. Lanham (MD): Scarecrow Press, 2002. ISBN: 0810842467. ix + 307 pages. A useful bibliography of chamber music for combinations of flute, oboe, clarinet, bassoon, and French horn (broken consorts); it does not contain combinations of instruments solely from the same family (whole consorts). Music is listed by the number of players and by composer and gives composers’ nationality, dates, title, publisher, scoring, and difficulty. Almost everything is currently in print, and contact information for each publisher is given at the end. 91. Helm, Sanford M. Catalogue of Chamber Music for Wind Instruments. Ann Arbor: National Association of College Wind and Percussion Instrument Instructors, 1952. Rev. ed. New York: Da Capo, 1969. ML 128.C4H4.1969. ISBN 0-306-71490-6. ix + 85 pages. Systematic listing from a3 to larger than a12, subdivided by number of winds in the ensemble and then by specific scoring. This catalogue gives only author, title (often abbreviated), scoring, editor, publisher, and some dates. 92. Simon, Eric. “Woodwind Ensemble Literature,” in Woodwind World, iii (September 15, 1959), 13. In essay form a list of original woodwind ensemble pieces with brief commentary. Starts with Beethoven’s 3 duos for clarinet + bassoon and Poulenc’s duos for clarinets, and clarinet + bassoon, and continues with relatively little known works by Rossini, Bridge, Ibert, Hindemith, d’Indy, Mozart, Milhaud, Strauss, Ludwig Thuille, Berg, Riegger, and Stravinsky. 93. Horne, Aaron. Woodwind Music of Black Composers, in Music Reference Collection, No. 24. New York: Greenwood Press, 1990. ISBN 0-3132-7265-4. ML128.W5H65.1990. xvii + 145 pages.

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A list of woodwind works—nearly all chamber music—by Black composers arranged first by geography. This work has the same setup as 71. 94. Weerts, Richard K., ed. Original Manuscript Music for Wind and Percussion Instruments. Washington, D.C.: Music Educators National Conference, 1973. ML 132.C4W4. 42 pages. Originally published in National Association of College Wind and Percussion Instructors Bulletin, then updated and published in 1964. ML 128.C4N4.1964a. 52 pages. List of works in manuscript owned by composers (a few distributed by publishers), arranged by genre (solos, brass, percussion, woodwind ensembles, mixed, with or without voices, and others). Information is given on title, composer, grade, duration, scoring, date of composition, recording, and address of composer. The composers are exclusively minor figures in the overall field of chamber music but who have contributed to these special genres. For a list of 861 pieces of mixed-wind chamber music by more than 300 composers, see Ralph Wahl’s dissertation 395. For a list of representative compositions for woodwind ensemble c.1695–1815, see Harry Hedlund’s dissertation 345. For a catalogue of ensemble music for woodwinds alone or with brass from c.1700 to c.1825, see Saul Kurtz’s dissertation 390. 95. Horne, Aaron. “Solo and Chamber Music for Woodwinds by Black Composers Composed from 1893 to 1976.” DMA dissertation. University of Iowa, 1976. UM 77–13152. DAI xxxvii.12A, p. 7394. 121 pages. A history of significant Black composers and their woodwind music, biographies of selected 20th-century Black composers of woodwind music, analyses of selected works, and “a catalogue of original works for solo woodwind and for chamber ensembles that include 1 or more woodwind instruments” written 1893–1976. In addition to traditional European woodwinds, Horne also includes the African flute atenteben. 96. Secrist-Schmedes, Barbera. Wind Chamber Music: Winds with Piano and Woodwind Quintets: An Annotated Guide. Lanham, MD: Scarecrow Press, 1996. ML 128.C4.S43.1996. ISBN 0-8108-3111-2. ix + 186 pages. A catalogue listing wind chamber music by scoring, from 2 to 5 winds with piano and woodwind quintets without piano. Under each category of scoring, it lists the composers alphabetically and gives title, publisher, duration, composers’ dates and/or date of composition, nationality of the composers, and a brief description of the work. Most of the pieces are currently in print.

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97. O’Loughlin, Niall. “Classical Wind Chamber,” in Musical Times, cxxv (1984), 34. A brief review of various new publications for different scorings involving woodwinds, by Antonio Polzelli (1783–1855), Alexander Pössinger (1766–1827), François Joseph Garnier (1755–1825), Gassmann, Jacques-Jules Bouffil (1783–18?), Johann Rösler ( = Jan Josef Rössler, 1771–1813), Joseph Fiala (1749–1816), and Wagenseil. See Walter Jones’ dissertation on the unaccompanied flute duets in 18thcentury France 360. For the clarinet duet c.1715 to c.1828, see David Randall’s dissertation 366. 98. Haynes, Bruce. Music for Oboe, 1650–1800: A Bibliography. 1st ed. 1986. 2nd, rev. ed. Berkeley: Fallen Leaf Press, 1992. ML128. O2H55.1992. ISBN 0-914913-15-8. xxv + 432 pages. A bibliography of chamber works including the oboe, enormously expanded over the 4 editions of Haynes’s student work: Catalogue of Chamber Music for the Oboe 1654–c.1825 published in The Hague (4th ed. 1980). Composers are listed alphabetically, then according to scoring from “solos” with continuo to octets of mixed ensembles to double-reed ensembles. Haynes also includes concertos and vocal works with oboe. He gives exact scoring, sources of the work, libraries, some concordances, and brief information on the composer. At the end there is a listing arranged by scoring, a bibliography, indices (where he is careful to separate different kinds of double-reed instruments), and other useful information. This is an essential reference work for all oboe performers. 99. Weiner, Lowell Barry. “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: an Annotated Catalogue.” PhD dissertation. New York University, 1980. UMI 80–17535. DAI xli.2A, p. 458. 236 pages. Organized by difficulty into 4 categories, then by composer, with brief information on title, duration, composition date, publisher, movement titles and tempos, type of clarinet required, musical elements, and reviews. It includes unpublished works as well and considers the history of the clarinet duet. 100. Gillespie, James E., Jr. The Reed Trio: An Annotated Bibliography of Original Published Works, in Detroit Studies in Music Bibliography, No. 20. Detroit: Information Coordinators, 1971. ML 128.W5G54. 84 pages. An excellent list of published works for oboe + clarinet + bassoon from 1897 to 1968. It gives each composer with dates and nationality, trio

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title, duration, publisher, difficulty, list of movements, and extensive annotations on stylistic influences, scoring, idiosyncrasies, and technical matters for each of the 3 instruments. It opens with a history of the reed trio and some major performing groups. 101. Oberlag, Herbert Henry. “An Annotated Bibliography of Original, Published Quartets for Flute, Oboe, Clarinet, and Bassoon.” DMA dissertation. Indiana University, 1974. RILM 74–68. viii + 98 pages. A well-annotated list including, among much else, difficulty, publisher, movements, and dating. 102. Hosek, Miroslav. Das Bläserquintett: the Woodwind Quintet. Grünwald: Bernhard Brüchle Edition, 1979. ML128.W5H67. 234 pages. In German and English. Primarily a bibliography of pieces for woodwind quintet, listed alphabetically by composer, with dates, title, sometimes duration, arranger if relevant, and publisher. It also includes lists of works for woodwind quintet with other instruments and a list of woodwind ensembles with the date of their organization, original membership, current membership, and mailing address. It opens with a brief history of the woodwind quintet. 103. Peters, Harry B. The Literature of the Woodwind Quintet. Metuchen (NJ): Scarecrow Press, 1971. ML 128.C4P5. ISBN 0-8108-0368-2. 174 pages. An attempt at an all-inclusive list of pieces for a woodwind quintet including arrangements and pieces for such a quintet with other instruments. It gives composers’ dates, arranger, title, publisher, source for data on the piece, and in some cases annotations on difficulty, length, movements, general characteristics, and suitability for concert performance. This is a basic resource tool for this genre. For a huge bibliography of woodwind quintets (over 800), see Ronald Wise’s dissertation 355. A smaller list of American quintets is in 353. 104. Price, Jeffrey Keith. “A Study of Selected Twentieth-Century Compositions for Heterogeneous Brass Ensemble and Organ by United States Composers.” DMA dissertation. University of Missouri–Kansas City, 1976. UMI 76–25150. DAI xxxvii.5A, p. 2484. 308 pages. A brief history of brass + organ compositions in general, followed by analyses in outline of 31 pieces as defined in the title. Two or more different brass parts are included in the discussion here, and a few with percussion. This includes data on range, number, and character of movements, musical style, and technical requirements of each piece.

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105. Walker, B.H. “I Teach Solo Brass,” in The School Musician, xxi (January 1950), 34–7, and (February 1950), 40–1. An informal, selective list of brass music at the high school level for brass sextets, quintets, and quartets, trumpet, trombone, and French horn quartets, cornet trios, and trombone duets. It gives title, composer, publisher, difficulty, and a very brief description. 106. Richards, John K. “The Brass Sextet: a Study of its Instruments, History, Literature and Position in Instrumental Music Education.” MM thesis, University of Southern California, 1947. USC catalogue No. MU 148 R516. 175 pages. Discusses the instruments that make up the brass sextet and gives a graded list of the available literature for the standard sextet and a small, representative list of literature for the non-standard sextet. This thesis dates the beginning of literature for the standard brass sextet as 1929 by J. Irving Tallmadge, and notes that it is unique to America. For a large survey of the literature of ensemble music for lip-reed instruments (brass and some others such as zink and cornett), see Willard Starkey’s dissertation 394. 107. Shoemaker, John Rogers. “A Selected and Annotated Listing of Twentieth-Century Ensembles Published for Three or More Heterogeneous Brass Instruments.” EdD dissertation. Washington University, 1968. UM 69–9009. DA xxix.12A, p. 4519. RILM 69–3261. v + 292 pages. The results of a survey in which 40 teachers of brass ensemble music were asked to add works to or delete works from a list of such pieces compiled by Mary Rasmussen and Robert Tyker. There were 35 teachers who responded and a list of 58 scores that were decided upon. Each score is then described: scoring, movements, and other characteristics. 108. Decker, Richard George. A Bibliography of Music for Three Heterogeneous Brass Instruments Alone and in Chamber Ensembles. Oneonta (NY): Swift-Dorr Publications, 1976. ML 128.W5D4. v + 82 pages. A list of brass trios (mostly for trumpet + horn + trombone) alone, with piano or organ, or in ensembles with up to 6 additional players including strings. This includes arrangements and at the end vocal music and band/orchestral music. For a comprehensive list of original, published brass ensemble works 1900– 966, see Arthur Swift’s dissertation 371. For a list of trombone quartets since

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the 16th century, see Wallace Tucker’s article 381.For a list of 293 brass quintets by American composers 1938–80, see Michael Tunnell’s dissertation 386. For a list of contemporary brass ensemble music from Poland, see Juliusz Pietrachowicz’s article 617. 109. Hummel, Donald Austin. “A Selected and Annotated Bibliography of Original Works for Trombone Trio.” DMA dissertation. University of Missouri–Kansas City, 1976. UMI 76–25147. DAI xxxvii.5A, pp. 2481–2481. 149 pages. Lists 53 original trios by 46 composers in 14 countries. At the most, 5 of these date before 1900: none before 1800. Of these, 38 are published and 35 were available in 1976. This dissertation cites composers (with dates and nationality), title, date of composition, format (score and/or parts), duration, publisher, and movement titles or tempos. It gives background information, editorial procedures, and performance suggestions, and includes reviews and composers’ comments. Duets, Trios, Quintets, and Other Combinations Not Exclusively Winds 110. Iotti, Oscar R. Violin and Violoncello in Duo without Accompaniment, in Detroit Studies in Music Bibliography, No. 25. Detroit: Information Coordinators, 1972. ML 128.V4I6. SBN 911772-48-0. 78 pages. An updated version of Alexander Feinland, The Combination of Violin and Violoncello without Accompaniment (Calvert County [MD]: Calvert Independent, 1947). This gives an alphabetical list by composers of such duos, with title, original date, and current publisher. 111. Mellado, Daniel. “A Study of 20th-Century Duets for Violin and Violoncello.” PhD dissertation. Michigan State University, 1979. UMI 79–21173. DAI xl.3A, p. 1144. 121 pages. Analyses of duets by Glière, Ravel, Kodály, Villa-Lobos, Toch, Martinú, Honegger, and Rochberg. A brief history of the medium, discography, and categorical listing of duets. 112. Altmann, Wilhelm. Handbuch für Klaviertriospieler: Wegweiser durch die Trios für Klavier, Violine und Violoncell: mit fast 400 Notenbeispielen. Wolfenbüttel: Verlag für musikalische Kultur und Wissenschaft, 1934. MT 140.A58. 237 pages, with a supplement of 389 musical examples. Designed for performers, not scholars. From Rameau to Sigfrid Walther Müller (b.1905, his 1926 Trio). The book is arranged chronologically by composer, with composers’ dates, title, names or tempos and meters of movements and some subjective opinions about the whole and

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individual movements (including both praise and condemnation). As in Altmann’s other books, this is especially strong on late-19th-century to early-20th-century music. 113. Everett, William A. British Piano Trios, Quartets, and Quintets, 1850–1950: a Checklist, in Detroit Studies in Music Bibliography, No. 80. Warren (MI): Harmonie Park Press, 2000. ML120. G7E94.2000. ISBN 0-89990-095-X. xii + 234 pages. Lists by genre, then gives composers, titles, dates, publication information if any. For lists of piano trios by French and Austrian composers of the late 18th century, see 409 and 411 respectively. 114. Ping-Robbins, Nancy R. The Piano Trio in the Twentieth Century: A Partially Annotated Bibliography with Introduction and Appended Lists of Commissioned Works and Performing Trios. Raleigh (NC): Regan Press, 1984. ML 128.C4P55.1984. 153 pages. Considers the basic incompatibility of the piano with the cello and violin. It lists piano trios alphabetically by composer. There is no bibliography, and no indication where the author found her information. A great many trios are by composers not generally known, so that when no biographical or bibliographical information is given, the work’s significance is a mystery. It includes a much shorter list of trios dedicated to a specific performing group or other commission; the value of this list is not clear. Finally, the list of trio ensembles is the biggest anywhere: alphabetical by the group’s name, it has very little information about the group. For a list of French piano trios c.1800 see 400. For a list of 30 piano trios by native-born American composers 1920–70, see Arno Drucker’s dissertation 421. For a thematic catalogue of Haydn’s baryton trios, see Béla Csuka’s essay “Haydn és a Baryton” 1586. 115. Miles, Patrick. “A Bibliography of Trios for Horn, Violin, and Piano, Composed 1945–85 with Selected Annotations,” in The Horn Call, No. 6 (1994), 18–31. 116. Dannessa, Karen L. “An annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed between 1978 and 1990 by Composers Active in the United States.” DMus dissertation. Florida State University, 1994. 117 pages. DAI Vol. lvi (June 1996), p. 4600A. A continuation of 147 and 457, containing mostly trios composed between 1978 and 1990.

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117. Altmann, Wilhelm. Handbuch für Klavierquartettspieler: Wegweiser durch die Klavierquartette. Wolfenbüttel: Verlag für musikalische Kultur und Wissenschaft, 1937. ML 128.C4A47. 147 pages, supplement of 237 musical examples. Designed for the amateur and professional player and music lover and not for the scholar. It is not as all-inclusive as the Kammermusikliteratur 28. It is organized by composer according to year of birth. The Klavierquartett is usually for piano + violin + viola + cello, but also recognizes Baroque sonatas for 2 treble instruments + continuo and later wind ensembles with piano. 118. Altmann, Wilhelm. Handbuch für Klavierquintettspieler: Wegweiser durch die Klavierquintett. Wolfenbüttel: Verlag für musikalische Kultur und Wissenschaft, 1936. ML 128.C4A48. 178 pages, supplement of 343 musical examples. A discussion of each of the major works from Mozart to Miklos Rosza, organized chronologically and designed for players, whether amateur or professional. This work discusses composers’ dates; key, meter and tempo of each movement, and general characteristics of each. It compares 1 composer to another and points out unusual harmonies and techniques. It is especially strong on composers of the late 19th century to early 20th century, including many forgotten names. It includes many nationalities. For lists of string quintets, see Tilman Sieber’s book 444. 119. Haas, Karl. “Fifty Years of Unusual Music, 1898–1948,” in Chesterian, xxiii (1948), 11–16. Describes unusually scored chamber music in the given time span. It includes many interesting and rarely heard works by famous composers (usually): Stravinsky, Glazunov, Prokofiev, Krenek, Hindemith, Arnold Cooke, Franz Reizenstein, Schoenberg, Antony Hopkins, Lennox Berkeley, Honegger, Richard Strauss, Francesco Malipiero, Milhaud, and so on. It begins with Janácˇ ek’s Capriccio for piano (left hand) + piccolo + flute + 2 trumpets + 3 trombones + tenor tuba, and ends with Bhuslav Martinú’s Le Revue de Cuisine (ballet) for clarinet + bassoon + trumpet + violin + cello + piano. The following bibliographies feature a single instrument in consort with others in chamber pieces: 120. Wilkins, Wayne. The Index of Violin Music. Magnolia (AR): The Music Register, [1973]. ML 128.V4W5. iii + 246 pages.

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Systematic list of violin compositions; most categories are chamber music. Information is limited to composer, title, scoring, and publisher. For a representative list of violin music from solos and duets to octets, see chapter 25 of Alberto Bachmann’s An Encyclopedia of the Violin 2604. 121. Johnson, Rose-Marie. Violin Music by Women Composers: A BioBibliographical Guide, in Music Reference collection, No. 22. New York: Greenwood Press, 1989. ISBN 0-3132-6652-2. ML128.W7J63. xxvii + 253 pages. A useful reference work on women composers of chamber music from the Baroque to the 1980s. There is a brief biographical sketch of each composer arranged alphabetically within musical periods (Baroque, Classical, Romantic, Twentieth-Century American, Twentieth-Century International), followed by a generic listing of works, many of which are chamber music. The listing of works gives title, date of composition and publication, publisher, duration, and, in a few cases, further description. A final chapter is a discography. 122. Baudet-Maget, A. Guide du Violoniste: Oeuvres Choisies pour Violon ainsi que pour Alto et Musique de Chambre Classées d’après leur Degré de Difficulté. Lausanne/Paris: Foetisch Frères, [1920]. ML 128.V4B2. xvi + 296 pages. Brief introduction in French, German, Italian, and English explaining the purpose of the guide. It claims this to be the first extensive list of works for the violin and viola in French. Works are listed by genre, then by composer with title and publisher, and by difficulty. It is still valuable for the extent of its listings from c.1650 to c.1920. It includes transcriptions and arrangements. 123. Wilkins, Wayne. The Index of Viola Music. Magnolia (AR): The Music Register, 1976. ML 128.V36W5. i + 94 pages. Supplement to The Index of Viola Music, 1976–1977 (i + 9 pages) and 1978 (i + 14 pages). Systematic list of works for viola in nearly all chamber music categories. Information is limited to composer, title, scoring, and publisher. 124. Williams, Michael D. Music for Viola, in Detroit Studies in Music Bibliography, No. 42. Detroit: Information Coordinators, 1979. ISBN 0-911772-95-2. 362 pages. A basic list of chamber music with significant viola section. It gives composer, title, publisher, and scoring.

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125. Altmann, Wilhelm, and Wadim Borisovskij. Literaturverzeichnis für Bratsche und Viola d’Amore: eine Vollständigkeit anstrebende, auch ungedruckte Werke berücksichtigende Bibliographie. Wolfenbüttel: Verlag für musikalische Kultur und Wissenschaft, 1937. ML128. V36A48. 148 pages. A list, by scoring, of a large variety of works for viola and other instruments as well as viola duets and trios, but often not many works under each category. It includes many arrangements, works of lesser dimension, and excerpts. Surprisingly popular combinations were viola + flute + guitar, viola + flute + piano, and viola + violin + guitar. The viola d’amore list is vastly shorter. This book gives publishers’ data and general comments about the pieces, but the original dates of composition are not included. 126. Zeyringer, Franz. Literatur für Viola: Verzeichnis. 2nd ed. Hartberg (Austria): Julius Schönwetter Jr., 1976. ML 128.V36Z5.1976. 1st ed. 1963, suppl. 1965. 418 pages. Forward and introduction in both German and English. Exhaustive list of works for viola a1, a2 with various instruments, and a3 with various instruments. Also viola + voice, viola + orchestra, and studies. It clearly indicates whether the work is originally for viola, borrowed, or arranged. The arrangement is by scoring, then by composer with title, publisher (manuscripts included as well), and occasionally other information. For a list of over 50 works for viola, mostly chamber music, written in England 1890–1937, see Thomas Tatton’s dissertation 447. 127. Homuth, Donald. Cello Music Since 1960: A Bibliography of Solo, Chamber, and Orchestral Works for the Solo Cello. Berkely: Fallen Leaf Press, 1994. ML128.V5H66.1994. ISBN 0-9149-1327-1. x + 451 pages. Organized by genre, then by composer, title, and publisher. It gives durations, and other descriptions of the works. 128. Weigl, Bruno. Handbuch der Violoncell-Literatur. 1st ed. 1911. 3rd enl. ed. Vienna/Leipzig: Universal-Edition, 1929. ML 128.V5W3. 357 pages. A large list of cello works by genre, then by composer. There are separate listings for arrangements. This handbook includes concertos and other orchestrally accompanied works as well as chamber music. It gives opus number and/or abbreviated title, price in marks or francs, publisher, date or city, and in some cases brief subjective

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descriptions. A 6-page introduction chronicles cellists from the late 16th century to the end of the 19th. 129. Groschwitz, Gustav. Violoncello-Musik und Kammermusikwerke: vollständiges Verzeichnis mit ausführlichen Angaben über Inhalt der Werke, Tempi, Tonarten, Schwierigkeitsgrade, Besetzungen, Bearbeiten und Preis. Leipzig: D. Rahter/N. Simrock/Anton J. Benjamin, [1931]. NYPL *MC(Rahter). viii + 218 pages. After a large list of exercises, solos, teaching pieces, and concert pieces for the cello, a more modest but nonetheless sizeable list of pieces a3 to a9 and for chamber orchestra with a cello part. It also lists chamber music arrangements. 130. Solow, Jeffrey. “Does It Exist? Where Can I Find It? Sources and References for Cello and Chamber-Music Repertoire.” Strings, xv (February–March, 2001), 95–9. A quick list of publishers’ and library catalogues, collections, and reference material to help the violoncellist find more obscure chamber music that is not covered in Solow’s other articles. 131. Solow, Jeffrey. “Who Was That Guy Anyway? Historical Editors of Cello and Chamber-Music Repertoire, Part I.” Strings, xv (May–June, 2001), 82–8. Brief identification of editors of violoncello music in the 19th and 20th centuries. They are listed alphabetically by last name – A–H. Part II, with the rest of the alphabet, was to have appeared in the July issue of Strings. 132. Grodner, Murray. Comprehensive Catalog of Available Literature for the Double Bass. 3rd ed. Bloomington (IN): Lemur Musical Research, 1974. ML 128.D6G7.1974. xxx + 163 pages. After sections on études, orchestral studies, and solo literature, half the catalogue lists chamber works with bass, from 2 basses to more than 4 basses, from duets to ensembles with 14 other instruments. It gives composer, arranger (most chamber works are original), title, exact scoring, source, price, comments (by code explained in the introduction), and in the smaller combinations the difficulty. 133. Posell, Jacques. “The String Bass in Chamber Music,” in The Instrumentalist, xvii (November 1962), 69–71. An informative essay on the problems of the string bass in chamber music and an historical overview from Mozart, Beethoven, and Schubert to Stravinsky and Schuller. Then there is a simple list of 51 chamber works including string bass. Posell is a bassist.

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134. Dodd, Gordon. Thematic Index of Music for Viols, 2nd installment. London: The Viola da Gamba Society of Great Britain, 1982. ML 128.V35D6.1980. 174 pages unbound. An attempt to index all British solo and ensemble viol music, mostly of the 16th and 17th centuries. This is Part 2 of what is proposed as a 3-Part index. There is an extensive bibliography, well documented, with concordances. Part 2 also includes corrections of Part 1. 135. de Smet, Robin. Published Music for Viola da Gamba and Other Viols, in Detroit Studies in Music Bibliography, No. 18. Detroit: Information Coordinators, 1971. ML 128.S7D48. 105 pages. Includes a large number of works for viol ensemble and for viol with other instruments. They are listed by scoring, and then by composer. It gives composers’ dates, titles of collections, titles of pieces, exact scoring, editor, and modern publisher. It includes a brief bibliography and list of publishers with addresses. 136. Winther, Rodney. An Annotated Guide to Wind Chamber Music: For Six to Eighteen Players. Miami (FL): Warner Brothers Publications, 2004. ISBN 0757924018. viii + 439 pages. A convenient handbook for wind players, conductors, and coaches. It lists a large number of chamber pieces by scoring, with information on the composer, date, duration, difficulty, publisher, and discography. There are several indices to help locate pieces by specific composers and scoring, and there is a list of the 101 most worthy pieces. Winther includes some pieces for a solo instrument accompanied by a wind ensemble and a few pieces for voice or voices with wind ensemble. By winds, he includes woodwinds and brass; some works include percussion as well. Some of the composers are famous or well-known and others are obscure so that the comments on them are valuable. The addresses of the publishers of this music are given at the end of the book. 137. Mellott, George Kenneth. “A Survey of Contemporary Flute Solo Literature with Analyses of Representative Compositions.” PhD dissertation. University of Iowa, 1964. UMI 64–7932. DA xxv.2, pp. 1249–50. 393 pages. Surveys solo flute literature from c.1930 to l964 and categorizes it according to medium and then nationality of the composer. As the author states, “The appendices contain classified lists of works for flute arranged alphabetically by composers.” It includes also detailed analyses of 12 solo flute works, including chamber music by Hindemith, Prokofiev, Dutilleux, Boulez, and Poulenc.

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138. Pellerite, James J. A Handbook of Literature for the Flute: Compilation of Graded Method Materials, Solos, and Ensemble Music for Flutes. Bloomington (IN): Frangipani Press, 1963. 2nd ed. 1965. 3rd ed. 1978. ISBN 0-931200-69-5. xxii + 408 pages. An extensive list of flute chamber music. It gives composers and dates, titles, difficulty, and brief annotation as to flute technique, basic structure, and distinctive features. It is aimed primarily at teachers and students of the flute. 139. Vester, Frans. Flute Musik of the 18th Century: An Annotated Bibliography. Monteux: Musica Rara, 1985. ML128.F7.V4.1985. ISBN 2-9500-6461-2. 573 pages. A catalogue of 18th-century flute music arranged alphabetically, including chamber music (sonatas and larger groups). Each title gives scoring, publisher, present library location, and a Vester code number. At the end of the volume is a systematic index of scorings with the composers listed under each scoring (no reference to page or code number). 140. Wacker, T. M. “The Piccolo in the Chamber Music of the Twentieth Century: an Annotated Bibliography of Selected Works.” DMA dissertation, Ohio State University, 2000. DAI, lxi (November 2000), p. 1679A. xiv + 100 pages. A catalogue of chamber music of the 20th century that includes piccolo (as distinct from flute) and scored for up to 9 players. It contains a list of publishers, a history of the piccolo, and the bibliography organized by types of combinations (groups of piccolos, piccolos with percussion, piccolos with strings, piccolos with other winds, mixed combinations, piccolos that can be substituted for flutes (as indicated in the editions), and piccolos with piano or other accompaniments. It ends with a glossary. See also Cynthia Ellis, “The Piccolo in Chamber Music,” in Flute Talk, xxiii (February 2004), 23. The instruments used in chamber music changed from the 16th century to the 17th. See Jonathan Wainwright and Peter Holman, eds, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century: Proceedings of the National Early Music Association Conference, held in association with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St. John, York, 2–4 July 1999 (Aldershot, UK/Burlington [VT]: Ashgate, 2005), ISBN 0754604039, xx + 321 pages.

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141. Otten, Marÿke. “De Blokfluit in de Kamermuziek,” in Mens en Melodie, ix (1954), 384–6. Reviews trio sonatas and other works by famous composers that use the recorder. The term “flute” by itself nearly always meant recorder before 1750, flute after 1750. It omits sonatas for 1 recorder + continuo. Besides 18th-century composers, it includes 20th-century figures such as Normann Dello Joio, Mathias Seiber, Karl Marx, Hanz Kammeyer, Walter Leigh, Stanley Bate, P. Glanville Hicks, and Herbert Baumann. 142. Wilkins, Wayne. The Index of Oboe Music including the Index of Baroque Trio Sonatas. Magnolia (AR): The Music Register, 1976. ML 128.O2W5. iii + 96 + 11 pages. An index of oboe chamber music including woodwind quintets and many other types. It contains a useful Table of Contents for finding the type of scoring, and gives a list of publishers with addresses. The last 11 pages are an alphabetical list by composers of trio sonatas, with editor (or arranger), title, and publisher. 143. Gifford, Virginia Snodgrass. Music for Oboe, Oboe D’amore, and English Horn: a Bibliography of Materials at the Library of Congress, in Music Reference Collection, No. 1. Westport (CT)/London: Greenwood Press, 1983. ML 128.O2G5. ISBN 0-313-23762-X. xlii + 431 pages. Most of the introduction is a list of the possible uses and combinations of these 3 instruments with themselves and with other instruments, from solo up to orchestral—5,617 entries (many not chamber music). This is a basic list of wind chamber music, especially for the 3 instruments, but it is useful for all wind, brass, and string chamber musicians as well. Information includes title, composer with dates, publisher, and Library of Congress call number. There are no annotations. 144. Crissey, Harrington E., Jr., and Christopher Weait. “Chamber Wind Music for Double Reeds by Eastman School of Music Composers,” in The Double Reed, xxviii, No. 2 (2005), 61–74. A huge list of composers of chamber music for double reeds who attended the Eastman School of Music from its foundation in 1921 to 2005. The authors give composer, titles of chamber works, dates, instrumentation, publisher, and length. 145. Opperman, Kalmen. Repertory of the Clarinet. New York: Ricordi, 1960. ML 128.C58O66. 140 pages. A systematic list of works for clarinet, mostly chamber music a2 to a15 with at least 1 clarinet.

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146. Pisano, Kristin L. “Twentieth-Century Chamber Music Excerpts for Clarinet with a Pedagogical Analysis.” DMA dissertation. University of Miami, 2005. DAI, lxvi (June 2006), p. 4236A. vi + 65 pages. While designed as a practical anthology for clarinet students of clarinet excerpts from 20th-century chamber music, the thesis also gives a useful list of such pieces with some historical data. 147. Hiscock, Sherrick Sumner, II. “An Annotated Bibliography of Selected Published and Mixed Trios for One Clarinetist and Two Other Musicians.” DMA dissertation. University of Miami, 1978. UMI 78–18727. DAI xxxix.4A, p. 1917. 204 pages. An annotated list of over 400 trios in 11 different instrumental combinations. Besides clarinet, there are other winds, strings, brass, percussion, and voice. This work considers style, performance practice, and difficulty. 148. Sacchini, Louis Vincent. “The Concerted Music for the Clarinet in the 19th Century.” PhD dissertation. University of Iowa, 1980. UMI 80–22063. DAI xli.4A, p. 1276. 401 pages. Mostly involves concertos, but also “concert pieces which require an ensemble accompaniment.” It divides the pieces into those by famous composers and clarinetists and those by lesser known ones. Within these 2 divisions, it lists composers alphabetically with biographical information and discussion of works. A thematic index gives location, date of publication, and accompaniment of works discussed in the text. See also Orval Oleson’s dissertation “Italian Solo and Chamber Music for the Clarinet 1900–973” 602. 149. Sundet, Jerold A. “A Study of Manuscript, Out-of-Print, and Currently Published Compositions for Single Oboe or Single Clarinet with Small String Group (c.1750–1820).” EdD dissertation. Colorado State College, 1964. UMI 65–4780. DA xxvi.2, p. 1083. 333 pages. Aims to increase the school and college wind and string ensemble repertory. Some 43 works now in print by 14 composers were submitted by publishers to the author and were chosen for discussion; 24 works no longer in print were submitted by libraries to the author and were also discussed. Composers include Giardini, Vanhal, Gassmann, Canabich, Brunetti, Wiegl, and others. Partially published as “Some Out-of-Print and Unpublished Compositions for Oboe with Small String Group ca.1750–1820,” in Woodwind World, xi (1972), No. 5, 7–9.

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150. Costa, Anthony J. “A Bibliography of Chamber Music and Double Concerti Literature for Oboe and Clarinet.” DMA dissertation, Ohio State University, 2005. DAI, lxvi (November 2005), p1549A. xiv + 146 pages. A catalogue of works for oboe and clarinet duet, oboe and clarinet with piano, oboe and clarinet with 1 or more strings with or without piano, and concertos for oboe and clarinet. Instrumental family members can substitute for oboe or clarinet (such as English horn and bass clarinet). Arrangements are included. Costa, a professional clarinetist, was teamed with an oboist, violoncellist, and pianist in the Rural Residency Program in the mid 1990s and needed a practical repertory. He includes some historical background to the scoring. 151. Valenziano, Nicholas, J. “Twenty-one Avant-Garde Compositions for Clarinet Published between 1960 and 1972: Notational Practices and Performance Techniques.” DMA dissertation. University of Missouri–Kansas City, 1973. UM 74–14875. DAI xxxv.1A, p. 505. 262 pages. An annotated listing of 21 pieces selected on the recommendation of performers, publishers, composers, and university teachers of clarinet. The pieces fall into 6 categories: 1) clarinet alone; 2) clarinet + piano; 3) clarinet + percussion; 4) clarinet + tape; 5) clarinet + ensemble (only 4 players), and 6) clarinet in unspecified ensembles. The dissertation deals with the notational problems in these pieces and indexes notational symbols. 152. Paprocki, Daniel Arthur. “Chamber Music with Bass Clarinet: a Bibliography of Works and a Correlation with the Emergence of the Virtuosic Orchestral Bass Clarinet.” DMA dissertation, Ohio State University, 2000. DAI, lxi (February 2001), p2987A. xvii + 169 pages. A large catalogue of about 1,000 chamber works, mostly from the last 2 decades of the 20th century, that include the bass clarinet. The works are organized by scoring, from duets to pieces for 10 instruments and include a wide range of other instruments from strings, winds, percussion, tape or other electronic instrument, voice, and mixtures of these. Paprocki, an engineer and professional clarinetist, got his material from Internet searches. Each entry contains the composer, the composer’s dates, the title of the piece, the scoring, year of composition, and publisher (or from whence the music can be obtained). There are useful appendices including an alphabetical index of composers and sources.

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153. Fletcher, Richard Wesley. “Music for Bassoon and Small String Ensemble, circa 1700–1825.” DMA dissertation. University of Iowa, 1974. UM 74–21958. DAI xxxv.4A, p. 2318. xvii + 230 pages. A catalogue of 98 compositions written 1700–1825 for 1 bassoon with 2 or more string instruments and, if included, continuo or keyboard, with “source information” (publication data, library location, and citation in Eitner’s Quellen-Lexikon, Fétis’s Biographie Universelle, Melville-Mason’s bibliography in Lyndesay Langwill’s The Bassoon and Contrabassoon, and various other catalogues) and brief biographies of the composers. The dissertation analyzes form and structure in 5 such pieces, and prepares performing editions of 2 quartets for bassoon and strings by Jean-Baptiste Bréval and Georg Abraham Schneider. It includes a thematic index. 154. Wilkins, Wayne. The Index of Bassoon Music Including the Index of Baroque Trio Sonatas. Magnolia (AR): The Music Register, 1976. ML 128.B25W5. 76 pages + 11 pages. List of bassoon chamber pieces arranged by genre. The information includes only composer, title, scoring, and publisher. There are trio sonatas on 11 supplementary pages. Supplemental addenda appeared in 1976–7 (8 pages) and 1978 (9 pages). 155. Wilkins, Wayne. The Index of Saxophone Music. Magnolia (AR): The Music Register, 1979. ML 128. S247W5. ii + 59 pages. Extensive catalogue of music for saxophone available in print, from solos to large combinations with only saxophones or in combination with other instruments. The music is listed by number of instruments and scoring. The book gives composer, title, and publisher. It gives many arrangements, but also a considerable amount of original saxophone music. 156. Horne, Aaron, ed. Brass Music of Black Composers: A Bibliography, in Music Reference Collection, No. 51. Westport (CT): Greenwood Press, 1996. ISBN 0–313-29826. ML128.W5H62.1996. xxix + 521 pages. A list of brass music by Black composers arranged first by geography. It has the same setup as 71. Much of the music listed is orchestral, jazz, concert band, and choral music. 157. Brüchle, Bernhard. Horn Bibliographie. Wilhelmshaven: Heinrichshofen’s Verlag, 1970. ML 128.H67B8. ISBN 3-7959-0025-5. 272 pages + 14 pages of illustrations. Catalogue of horn music from solos to 10 or more instruments including horn concertos. The music is arranged by scoring, then by

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composer. This book includes title and publisher. There is also a brief bibliography of studies on horn music. 158. Wilkins, Wayne. The Index of French Horn Music. Magnolia (AR): The Music Register, 1978. ML128.H67W5. ii + 120 pages. Comprehensive catalogue of horn music available in print from solo to 15-piece and larger ensembles (other brass or other kinds of instruments). It gives author, title, and publisher. It includes a list of publishers and addresses. 159. Pinkow, David James. “A Selected and Annotated Bibliography of Music for Horn and Piano with Analysis of Representative Works.” DMA dissertation. University of Maryland, 1983. UMI 84–29928. DAI xlv.10A, p. 3023. A graded list of 82 works originally written for horn + piano. It includes duration, range, and style. For a list of available chamber music with trumpet for students, teachers, and performers, see Mario Oneglia’s dissertation 398. 160. Gorman, Kurt George. “The Literature for Trumpet in Mixed Chamber Music of the Twentieth Century.” DMA dissertation. Conservatory of Music, University of Missouri–Kansas City, 2001. DAI, lxii (September 2001), p830A. xi + 218 pages. A catalogue of chamber music with trumpet from the late 19th century to 2000. Included are duets to octets including the trumpet; excluded are brass quintets, vocal music, and arrangements. Gorman annotates 14 pieces in some detail, while the appendices list published and unpublished works without annotation. Gorman begins the thesis with a general discussion of the styles in which the pieces were written. 161. Cansler, Philip Trent. Twentieth-Century Music for Trumpet and Organ: An Annotated Bibliography, in Brass Research Series, No. 11. Nashville: The Brass Press, 1984. ML 128.T78C32.1984. ISBN 0914282-30-1. 46 pages. This is a revision of “An Analytical Listing of Published Music of the Twentieth Century for Trumpet and Organ.” DMA dissertation. University of Oregon, 1984. A list by composer of 87 such compositions from numerous countries. There are sizeable discussions of each piece, including a biography of the composer, reasons for the writing of the piece, and some of the demands made on both the trumpeter and organist. It lists publishers with addresses and the pieces by difficulty.

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162. Arling, Harry J. Trombone Chamber Music: an Annotated Bibliography, in Brass Research Series, No. 8. Nashville: The Brass Press, 1978. ML 128.T76A7. ISBN 0-914282-23-9. viii + 48 pages. Alphabetical list by composer of chamber music with trombone (almost entirely 1 trombone). Annotations include title, publishing information, trombone tessitura, duration, difficulty, instrumentation, special effects and techniques, clefs, and style. 163. Lane, George B. The Trombone: An Annotated Bibliography. Lanham (MD): Scarecrow Press, 1999. ISBN 0-8108-3465-0. ML128.T76L39.1999. xvi + 425 pages. A bibliography of studies of chamber music involving the trombone. 164. Roberts, James E. “A Preliminary List of Seventeenth-Century Chamber Music Employing the Trombone,” in Journal of the International Trombone Association, viii (1980), 19–22. A list of apparently original chamber music including trombone or optional trombone, divided into works by Italian and non-Italian composers. It includes no introductory commentary but does give sources. It gives titles of collections but not titles of pieces within collections. This is a basic reference on chamber works for trombone players. 165. Gifford, Robert Marvin, Jr. “A Survey of the Use of the Trombone in Chamber Music with Mixed Instrumentation Composed since 1956.” DMA dissertation. University of Iowa, 1978. UMI 79–05662. DAI xxxix.9A, p. 5198. vii + 137 pages (DAI = 266 pages). Discusses trends and techniques in the pieces in the list. It excludes brass ensemble music; it is conceived as a continuation of Robert E. Gray’s work on the same subject. It includes other winds, voice, strings, percussion, electronic and multimedia resources. The list is compiled from publishers’ catalogues, composers’ and performers’ suggestions, and library resource lists. Over 1,000 works are included. 166. Everett, Thomas G. Annotated Guide to Bass Trombone Literature. 2nd rev. and enl. ed. Nashville: The Brass Press, 1978. ML 128. T76E9.1978. ISBN 0-914282-03-4. v + 78 pages. Systematized list of bass trombone works including both chamber as well as non-chamber music categories. Annotations include publisher, date, duration, tessitura, scoring, and general stylistic features. 167. Louder, Earle L. and David R. Corbin, Jr. Euphonium Music Guide. Evanston: The Instrumentalist Company, 1978. ML 128.B24L7. vi + 46 pages.

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Includes a list of chamber music where the euphonium can be substituted for trombone, French tuba, F tuba, bassoon, and cello. Much of the repertory is arrangements, and the authors also suggest orchestra (band) performance of some of the pieces. 168. Hinson, Maurice. The Piano in Chamber Ensemble: An Annotated Guide. Bloomington, (IN): University of Indiana Press, 1962. Reprinted 1978. Paperback 1996. ISBN 0-253-21055-0. ML128.C4H5. xxxiii + 570 pages. Describes over 3,200 compositions from duos to octets by more than 1,600 composers. It gives a systematic list, by composer, of music for 1 piano and other instruments (occasionally 2 pianos + other instruments) a2 to a8; the other instruments include the standard strings, woodwinds and brass, plus saxophone, percussion, tape, harp, and others. Annotations include title, date of composition, available edition, exact scoring, description of basic style in each movement, and special performance requirements. 169. Rathke, Donna Rager. “Chamber Music for Piano-Wind Quintet (Oboe, Clarinet, Horn, Bassoon, Piano): a Survey.” DMA dissertation. University of Kentucky, 2003. DAI, lxiv (July 2003), p.21A. v + 206 pages. A catalogue of 41 such works from the late 18th century to the present, listed chronologically. There is a brief historical discussion of each work and a simple analysis of themes and form. The dissertation opens with a short history of each instrument. 170. Horne, Aaron, ed. Keyboard Music of Black Composers: A Bibliography, in Music Reference Collection, No. 37. Westport (CT): Greenwood Press, 1992. ISBN 0-3132-7939-X. ML128.B45H68.1992. xx + 331 pages. Same as 71 but includes solo accordion, harpsichord, organ and piano keyboard with jazz, voice, orchestra, choir, and other non-chamber music groups. 171. Walker-Hill, Helen. Piano Music by Black Women Composers: A Catalog of Solo and Ensemble Works, in Music Reference Collection, No. 35. New York: Greenwood Press, 1992. ISBN 0-313-28141-6. ML128.P3W3.1992. xiv + 143 pages. On pages 114 to 119 are listed chamber works by Black women composers arranged by scoring and then by composer and title. The reader, consequently, goes back to the earlier part of the book, which is an alphabetical listing by composer, in order to get a few more details on the compositions.

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172. Bedford, Frances, and Robert Conant. Twentieth-Century Harpsichord Music: A Classified Catalog, in Music Indexes and Bibliographies. Hackensack (New Jersey): Joseph Boonin, 1974. ML 128. H35B4. ISBN 0-913574-08-2. xxi + 95 pages. Extensive listing by genre and scoring, including mostly chamber music but also solo harpsichord, vocal, and orchestral music. It gives composer and dates, title, year of composition, duration, and source. 173. Purswell, Joan. “20th-Century Chamber Music for Harpsichord,” in Clavier, xix (1980), No. 4, 36–9, and No. 5, 36–8. Notes the popularity of the harpsichord in neo-classic, neo-baroque chamber compositions 1960–80 and its contrapuntal style. Also, in distinction to these, it notes some Italian and French pieces that use the harpsichord as a color instrument in a freer, often aleatoric style. It lists the compositions by composer, with title, scoring, publisher and date. Composers, from various countries, are mostly well-known contemporaries. 174. Spelman, Leslie P. Organ Plus: A Catalogue of Ensemble Music for Organ and Instruments. 3rd ed. New York: The American Guild of Organists, 1981. ML 128.O6S7.1981. 46 pages. 1st ed. 1975; 2nd ed. 1977. A well-organized list of chamber music with organ and also some chamber orchestra works by composers from 17th to 20th centuries, with music currently in print or readily available. It gives composer, title, number of pages, difficulty, and publishing data. 175. Crago, Bartholomew. “A Descriptive List of Infrequently Played Chamber Music and Some Suggestions for Transcription,” in The Soundboard, vii (1980), 171–2. Provides modern-day guitar students with ensemble music. It lists a few works, which in some cases need transcription for guitar (from lute), by Silvius Leopold Weiss (1686–1750), Ernst Gottfried Baron (1690–1760), Ferdinando Carulli (1770–1841), Mauro Giuliani (1781–1829), Diabelli, Paganini, Wenzel Thomas Matiegka (1773–1830), Rudolphe Kreutzer (1766–1831), Sor, Dionysio Aguado (1784–1849), Henze, Eugène Bozza (1905–91), Louise Moyse, Hans Martin Linde (b.1930), among others. This is aimed at the unsophisticated guitar student. 176. Siwe, Thomas. Percussion Ensemble & Solo Literature. Champaign (IL): Media Press, 1993. ISBN 0-9635-8910-5. ML128.P23S58.1993. iii + 611 pages. A very useful bibliography of percussion works, including a list of publishers with their addresses. Part 1 lists alphabetically by composer

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ensemble works for percussion ensemble and percussion with other instruments (this last is relevant to chamber music). An equally sizeable Part 2 lists works for solo percussion. The various appendices are specifically designed for percussionists. 177. Canadian Music Centre. List of Canadian Music for Guitar. Toronto/ Calgary/Vancouver/Montreal: Canadian Music Centre, 1980. ML 120.C2C3617. ii + 18 pages. Besides solo guitar pieces, includes numerous guitar duets, duets for guitar + 1 other instrument, and chamber ensembles with guitar. It gives scoring, composer, title, date of composition, duration, publisher (or manuscript), and recording. 178. MacAuslan, Janna. A Catalog of Compositions for Guitar by Women Composers. Portland (OR): Dear Horse Publications, 1984. ML 128. G8M3.1984. ISBN 0-9614170-0-5. iv + 47 pages + 1 page insert of last minute corrections and additions. Includes guitar ensembles and guitar with 1 or more other instruments, along with non-chamber pieces for guitar. It gives title, scoring, date, and publisher. 179. Witoszynskyj, Leo. “Die Gitarre in der Kammermusik und der Beitrag Wiens,” in Österreichische Musikzeitschrift, xxxi (December 1976), 640–4. Not seen. 180. Gilmore, George. Guitar Music Index: A Cross-Indexed and Graded Listing of Music in Print for Classical Guitar and Lute. 2 vols. Honolulu: Galliard Press, 1976–81. ML 128.G8G5. I: ii + 108 pages. II: v + 113 pages. A list by title, composer, and scoring in each volume—2, separate, non-duplicating indices. It includes guitar or lute + guitar or lute ensembles and those for guitar or lute + 1 other instrument (standard and unusual). It gives title, publisher, period of composer, a few dates, and difficulty. 181. “Chamber Music for Harp in Instrumental Ensemble,” in Harp News, i, No. 10 (Fall 1954), 10–16. A modest bibliography, by instrumentation, of chamber music for harp and others, including some arrangements. It gives composer, title, and publisher. 182. Palkovic, Mark. Harp Music Bibliography: Chamber Music and Concertos. Lanham (MD): Scarecrow, 2002. ISBN 0810841258. 685 pages.

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The first half of this book is a huge, simple catalogue of original and arranged chamber music for 2 to 9 players including a harp. The music is listed by scoring, and then alphabetically by composer. The book gives composers’ dates and information on publishing. 183. Piana, Dominique. “Exploring the Harp Chamber Music Repertoire.” The American Harp Journal, xix (Winter 2004), 31–3. A brief description of 6 chamber compositions including the harp written during the 18th to 20th centuries. The annotations were apparently originally program notes, and most of the attention is given to biographies. For a bibliography of bibliographies, see 207. A number of studies and some bibliographies include discography. The following are exclusively discographies: 184. Schonberg, Harold C. Chamber and Solo Instrument Music, in Guide to Long-Playing Records, Vol. III. New York: Knopf, c.1955. Reprint Westport (CT): Greenwood Press, 1978. ML 156.4.C453.1978. ISBN 0-31-3202-966. xi + 280 + vi pages. A richly annotated discography with historical information and evaluation of the performance. This is designed to help the record buyer choose the appropriate record, and is divided approximately evenly between solo keyboard music and chamber music. 185. Bahr, Edward Richard. “A Discography of Classical Trombone/ Euphonium Solo and Ensemble Music on Long-Playing Records Distributed in the United States.” DMA dissertation. University of Oklahoma, 1980. DAI xli.6A, p. 451. 324 pages. A list of recordings and a cross-reference list of compositions. Included are album title, performers or ensemble, other soloists or ensembles, accompanists, conductors, record size, number of sides, label and number, and whether the record is mono, stereo or quadraphonic. An introduction explains the methodology of the discography. 186. Vokurka, Klaus Alexander. “Tschechische Kammermusik auf Schallplatten,” in Phono: Internationale Schallplatten-Zeitschrift, xii (1966), 124–6. Lists 19 recordings of Czech chamber music from the 18th to 20th centuries and discusses the works as much as the performers.

II History of Chamber Music

GENERAL STUDIES The following is a sociological history of chamber music: 187. Baron, John Herschel. Intimate Music: A History of the Idea of Chamber Music. Stuyvesant (NY): Pendragon Press, 1998. ML11. B6.1998; ISBN 1-57647-018-0. A modest attempt to portray the history of the situations that led composers and performers to create chamber music from c.1550 in England to the 1990s. This is more a social history than a history of art products and biographies. There are no comprehensive, up-to-date histories of the whole area of chamber music, but there are older books, some limited ones, and some shorter essays that attempt to view chamber music as a whole. 188. Mersmann, Hans. Die Kammermusik, in Hermann Kretzschmar, Führer durch den Konzertsaal. 4 vols. Leipzig: Breitkopf & Härtel, 1930–33. I: Die Kammermusik des xvii. und xviii. Jahrhunderts bis zu Haydn und Mozart. II: Beethoven. III: Deutsche Romantik. IV: Europäische Kammermusik des xix. und xx. Jahrhunderts. MT 90.K92. I: xv + 326 pages; II: vi + 187 pages; III: v + 157 pages; IV: viii + 202 pages. One of the most comprehensive studies of chamber music in any language. This is an historical study of style, progressing systematically from period to period, country to country, composer to composer, genre to genre. There are large chapters on the major composers 46

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(whole book on Beethoven), and significant statements on the many minor ones. It includes solo violin sonatas (such as by Bach, Reger). The list of 20th-century chamber music to 1930 is reasonably complete, but only 1 paragraph is devoted to American chamber music. This book concentrates on form, thematic development, and general “emotional” content. 189. Ulrich, Homer. Chamber Music. 1st ed. 1948. 2nd ed. New York/ London: Columbia University Press, 1966. ML1100.U4. xviii + 401 pages. 62 musical examples. Standard general history of chamber music, which is defined as “instrumental ensemble music written in the largest forms available to the composer, for groups of 2 to 8 players, having 1 player to a part, and in which piano or string instruments supply the principal interest.” Most attention is given to biography and generalizations, with few specific pieces analyzed in detail. If this book must be used, do so with extreme caution. It contains numerous factual errors and suffers from the author’s rather extreme prejudices: the 20th century is basically ignored, and the poor treatment of wind music and of slightly out-of-the-mainstream ensembles is symptomatic. 190. Finscher, Ludwig. Geschichte und Geschichten: ausgewahlte Aufsätze zur Musikhistorie, ed. Hermann Danuser. Mainz: Schott, 2003. ISBN 3795718597. A collection of important and thought-provoking essays by one of the most important scholars of chamber music. All appeared in earlier publications. Chapters specific to chamber music are “Hausmusik und Kammermusik” (pages 79–88); “Corelli und die ‘corellisierenden’ Sonaten Telemanns” (pages 165–79); “Joseph Haydn und das italienische Streichquartett” (pages 242–63); “Mozarts erstes Streichquartett: Lodi, 15. Marz 1770” (pages 264–81); and “Das macht mir nicht so leicht ein andrer nach: Beethovens Streichquartett-Bearbeitung der Klaviersonate Op. 14/1” (pages 282–91). 191. Ewen, David. Solo Instrumental and Chamber Music: Its Story Told through the Lives and Works of its Foremost Composers, in Mainstreams of Music, Vol. 3. New York: Franklin Watts, 1974. ML 60. E9. ISBN 0-531-02685-X. viii + 278 pages. A general history of instrumental music designed for the layperson who has no background knowledge. The simplistic approach should make easy reading for its intended audience and infuriate the scholar (“Before Corelli, violinists were amateurs, hack musicians, or plain mediocrities”, “By the time he completed the six works in Op. 20 [1772], Haydn had written about twenty-four string quartets”, and

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similar nonsense). There is no discussion of the woodwind quintet phenomenon or any brass chamber music. It is anecdotal, but also contains a great many facts. By going from composer to composer, there is considerable discontinuity. Nonetheless, this surpasses Ulrich 189 as the best available 1-volume history of chamber music in English. 192. Gleason, Harold, and Warren Becker. Chamber Music from Haydn to Bartok, in Music Literature Outlines, No. 5. 2nd ed. Bloomington (IN): Frangipani Press, 1980. ML 1100.G54.1980. ISBN 0-89917267-9. iii + 112 pages. 1st ed. Harold Gleason, Chamber Music from Haydn to Ravel, in Music Literature Series, No. 4. Rochester: Eastman School of Music mimeograph, 1954. iv + 136 pages. A dangerously misinformed presentation that should be avoided by all constituencies. It presents in outline the history of chamber music before Haydn and then the principal chamber works (mostly string quartets) of 14 major composers. It omits all wind music and all 2-instrument music. The life of each composer is outlined, then his works are summarized, and finally selected works are analyzed in outline. At the end of each chapter is a bibliography that includes few works past 1970, and the authors seem not to have read anything after 1960. 193. Indy, Vincent d’. Cours de Composition Musicale, II.1, ed. Auguste Sérieyx, D’après les Notes Prises aux Classes de Composition de la Schola Cantorum en 1899–1900. Paris: A. Durand et Fils, n.d. 500 pages. II.2, … en 1901–2. Paris: A. Durand, 1933. 340 pages. BPL 4052.74.V.2. Lectures covering a wide range of topics, including sonatas, accompanied chamber music, string quartets, and many non-chamber music genres. In each case the author defines the type of music, gives its principal and other features, presents a history, and concludes with modern (late 19th-century) practices. This is a dated, but historically important, presentation by one of the leading French musical personalities of the time. 194. Ackere, Jules. De intieme Vormen der Muziek: De Kamermuziek en het Lied. Antwerp/Brussels/ Gent/Leuven: Standaard-Boekhandel, n.d. ML 1100.A3 or ML 1104.A25. 238 pages with 8 separate pages of music. Discussion of only a few select composers of chamber music, including art song, beginning with Corelli and concluding with Ravel. This book is aimed at a popular audience that wants to know the atmosphere of the hit classics. It regards the sonority of chamber music to have been realized by 1650 but the emotions of chamber

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music were realized only in the 19th century. Corelli and the Italians transform the suite by intensifying its spirit and making the performer more conscious of pleasing himself rather than an audience—the purity of style and elasticity of form of the Italian solo violin sonata. It falsely credits Tartini with the first triple stops. Before and after Beethoven, it analyzes a few works from which it generalizes about whole genres and outputs. There is lots of praise for Haydn but not much substance to the discussions. The book discusses each of the Beethoven quartets, the violin + piano sonatas, and some early chamber music. Without documentation, the historical discussion is weak, and the analyses are entirely subjective. 195. Brunn, Kai Aage. Kammermusik. Copenhagen: Thaning & Appel, 1960–68. ML 1104.B8. 3 vols. I: Fra Haydn til den Unge Beethoven, 176 pages; II: Fra Beethoven til Schubert, 228 pages; III: Den Romantiske Epoke, 223 pages. In Danish. A history of the traditionally-conceived core period of chamber music, mostly string, with discussion of national schools (German, Bohemian, Russian, Scandinavian, Italian, and French), the major composers, and the principal works (detailed stylistic and thematic analyses). See also Adolf Hillman’s Kammarmusiken 36. 196. Headington, Christopher. The Listeners Guide to Chamber Music. Poole, Dorset: Blandford Press, 1982. ML 1100.H3.1982. v + 138 pages. 22 portraits. A very brief history of chamber music for the layperson, from the 17th century to the present. The emphasis is on the principal masterworks of the most famous composers, with the purpose of recommending specific recordings to the beginning collector. 197. Hemel, Victor van. De Kamermuziek: Geschiedenis, Komponisten, befaamde Ensembles, Kamermuziekkompozites e.a. 3rd ed. Antwerp: Cupido-Uitgaven, [1959?]. ML 1100.H35.1959. 108 pages. 2nd ed. Antwerp: 1960. In Dutch. A superficial history of chamber music from the end of the 16th century to Bartók that covers a lot of territory. It gives a list of 20th-century composers of chamber music by nationality (a few 19th-century exceptions). It lists famous chamber ensembles and also gives a bibliography of chamber music by genre and difficulty, and a discography. Shorter books, mostly for laypersons, tend to do a better job within their imposed limitations.

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198. Fiske, Roger. Chamber Music. London: BBC, 1969. ML 1120.F58. SBN 563-08465-0. 80 pages, 51 examples, 4 photos, 13 drawings and paintings, 1 facsimile. Designed for the reader who has little or no previous knowledge of chamber music but who is acquainted with other forms of classical music. It was written to accompany 7 broadcasts on BBC Radio 3. The emphasis is on England in the discussion of chamber music before 1750, but is better balanced afterwards. Beware many false statements; but in a superficial way this is a readable, informative introduction to chamber music. 199. King, Alexander Hyatt. Chamber Music, in The World of Music, eds George Franckenstein and Otto Erich Deutsch. New York: Chanticleer Press/London: M. Parrish, 1948. ML 1100.K5. 72 pages. 40 illustrations. A brief, comprehensive history of chamber music, which, despite numerous historical inaccuracies, is valuable for attention to English and American examples and for its beautiful illustrations. 200. Höcker, Karla. Grosse Kammermusik. Berlin: Rembrandt, 1962. ML 1100.H55. 64 pages. 34 photos of chamber players. A brief, very general introduction to chamber music concepts and history for the layperson with special comments on sonatas, piano chamber music, string quartets, and other ensembles (including winds). There is less emphasis on repertory than on the new performers. 201. Unverricht, Hubert. Die Kammermusik. Köln: Arno Volk, 1972. M 2.M945.Heft 46. 160 pages. An edition of 12 complete movements of chamber pieces, given in score, from Roman Hoffstetter’s String Quartet c.1765 to Bo Nilsson’s “Zwanzig Gruppen” 1958. The introduction and large, comprehensive bibliography are valuable for students and scholars. An excellent summary of current thought (1972) on the development of chamber music 1750–1800, and a fine summary of its continued development to the mid-20th century. 202. Gaidamovich, Tat’iana Alekseevna. Instrumental’nye Ansamble. Moscow: Gos. Myuzikalnoi, 1963. ML 1100.G3.1963. 54 pages. In Russian. A brief introduction to the concept of ensemble music, which is chamber music. An essay on sonata, quartet, trio, and larger ensembles. This book presents a brief history of ensemble playing, with sonata the first type historically. It gives the most famous examples and is designed for the layperson.

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203. Stupel’, Aleksandr Moiseevich. Beseda o Kamernoi Muzyke. Leningrad: Gos. Muzikalnoi, 1963. ML 1100.S85. 67 pages. In Russian. A well-written “conversation about chamber music” designed for the layperson. A history of different aspects of chamber music in different countries. Chamber music, which is always Hausmusik, includes here vocal, solo keyboard, and chamber orchestra music. When Hausmusik is brought into the concert hall, it becomes democratized. Special attention is given to the piano trio, string quartet, and piano quintet. 204. Hutschenruÿter, Wouter. De Geschiedenis der Kamermuziek: een Beknopt Overzicht, in Musica-Bibliotheek, No. 11. Hilversum: J.J. Lispet, [1935]. ML 1100.H8G4. 83 pages. A brief, shallow, dated history of chamber music from the 17th to the late 19th centuries for the layperson. There is no musical analysis but just a general concept of genres and styles. The book considers string quartets, sonatas for piano + 1 other instrument, piano trio, string trio, piano quartets and quintets, and chamber music for more than 4 strings. Essays on chamber music in several encyclopedias offer adequate overviews, but they, too, are limited. Collectively, however, they present some of the major issues and problems in writing a comprehensive history. 205. Geiringer, Karl. “The Rise of Chamber Music,” in New Oxford History of Music, Vol. vii, eds, Egon Wellesz and Frederick Sternfeld. London/New York: Oxford University Press, (1973), The Age of Enlightenment 1745–1790, pages 515–73. ML 160.N44. A good survey, for the student and performer, of the basic types of chamber music in the transitional period from Baroque to Classical, with many compositions mentioned. For the scholar, however, this represents a marvelous summary of conceptions of chamber music history that have become outdated by the research of the past 20 years. 206. Tovey, Donald Francis. Chamber Music, in Musical Analysis, supplementary volume, ed. Hubert J. Foss. London: Oxford University Press, 1944. 6th reprint 1967. MT 140.T69. vi + 218 pages. 377 musical examples. A collection of 20 essays assembled posthumously in the form of musical analyses of 19 masterworks by Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin, and Brahms, of which 10 are solo keyboard pieces (or collections), 1 is a song, 1 is a fragment of a violin concerto, 6 are true chamber pieces, and 1 (Die Kunst der Fuge) can be regarded as chamber music. An introductory essay (originally in

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Cobbett, Cyclopedic Survey) on what constitutes chamber music is rife with the prejudices of a sophisticated snob of 1928; while there is much that is worthy in pre-1760 chamber music, the real stuff began with Haydn and Mozart who appreciated the individuality of the members of a chamber ensemble and who first recognized the need for at least 1 large, sonata-form movement in any substantial chamber music piece (Nohl’s contention). Tovey does not include vocal music or solo keyboard music in this essay on chamber music, so that Foss’s collection does some violence to Tovey’s understanding of the term. The essay discusses “correct” realization of the continuo. Other essays include detailed analyses of Mozart’s Quintet for Piano and Winds K. 452, Beethoven’s Kreutzer Sonata, Schumann’s Quintet, and Brahms’s Piano Quartets Opp. 25, 26, and 60. 207. Schwindt, Nicole. ”Kammermusik,“ in Die Musik in Geschichte und Gegenwart, Sachteil 4 (Kassel: Bärenreiter; Stuttgart/Weimar: Metzler, 1996), cols. 1618–1653. A brief but informative history of chamber music for the German reader, with a useful bibliography. An expanded and improved entry over that by Helmut Wirth in the first edition addendum of Die Musik in Geschichte und Gegenwart 2, vii (1958), cols. 477–499. 208. Tilmouth, Michael. “Chamber Music,” in The New Grove Dictionary 1, iv, 113–18. Defines chamber music as “music for small ensembles of solo instruments, written for performance under domestic circumstances in a drawing-room or small hall before an audience of limited size or indeed without the necessity of any listeners.” This careful description emphasizes the intimate character of chamber music and recognizes that in certain periods it is something else. The book considers the function and locale of chamber music from the Middle Ages to the 20th century. This is a brief, good overview, with an ample bibliography. 209. Arnold, Denis, and Paul Griffiths. “Chamber Music,” in The New Oxford Companion to Music, ed. Denis Arnold (Oxford: Oxford University Press, 1983), 343–9. A good definition and brief overview of chamber music. The following books, while not offering a comprehensive history, do offer a number of important topics in the history of chamber music. 210. Meyer, Ernest H. “Concerted Instrumental Music,” in New Oxford History of Music, Vol. iv The Age of Humanism, 1540–1630, ed. Gerald Abraham (London: Oxford University Press, 1968), 550–601.

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A well-written, broad survey of ensemble music in Europe during the period mentioned, including vocal music and orchestral music as well as chamber music. Italian and English music get the most attention, with brief accounts of French, Dutch, German, Polish, and Bohemian music. Although a number of details have been challenged over the years, it remains one of the best overall histories of early chamber music. 211. Rowen, Ruth Halle. Early Chamber Music. New York: Columbia University Press, 1949. 2nd ed. With new preface and supplementary bibliography: New York: Da Capo Press, 1974. ML1100.R6.1974. ISBN 0-306-71160-5. xiv + 232 pages. Originally a Columbia University dissertation, 1950. Basic scholarly study of chamber music from 1600 to 1760s. It excludes vocal chamber music but recognizes instrumental chamber music is influenced by vocal forms. It also excludes solo keyboard music but includes solo string music. No attempt is made to include all composers; rather, this book concentrates on general stylistic developments, the development of instrumental techniques vis-à-vis ensembles, the use and non-use of the basso continuo and the emergence of classical elements (whose ideal is given as the string quartet). While some of the discussion is dated, the author justifies a reprint in her new preface and points to corrective articles in her huge supplementary bibliography. 212. Robertson, Alec, ed. Chamber Music. 1st ed. Harmondsworth: Penguin Books, 1957; reprints 1960, 1963, 1967, 1970 (also printed in Baltimore). MT 140.R6.1970. 427 pages. A collection of essays by numerous authors on chamber music from 1700 to c.1950, in 3 parts. I: chamber works of specific composers (Haydn, Boccherini, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Smetana, Dvorák, Bloch, and Bartók). II: duet sonatas without winds and chamber music with winds after 1700. III: several national schools of chamber music (England, USA, France, Germany, and Russia). This book is designed for the layperson or student who understands basic definitions. It is reliable, informative, well written, and edited; but, by being selective and somewhat out of date, it cannot serve as a basic text. Many individual essays are cited below. 213. Fleischhauer, Günter, and Walther Siegmund-Schultze and Eitelfriedrich Thom. Zur Entwicklung der instrumentalen Kammermusik in der 1. Hälfte des 18. Jahrhunderts, in Studien zur Aufführungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts:

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Konferenzbericht der xi. wissenschaftlichen Arbeitstagung Blankenburg/ Harz, 17. Juni bis 19. June 1983, Vol. 22. (No further publishing information.) ML 1102.Z97.1984. 92 pages. A collection of 10 essays on various aspects of 18th-century chamber music. 1) Walther Siegmund-Schultze, “Die Individualisierung der instrumentalen Kammermusik im 18. Jahrhundert” (pages 11–16), suggests that the intimate, often minor works ultimately are more important than major ones because there the composer experimented or expressed himself strongest. 2) Wolfgang Ruf, “Die Kammermusik in der Musiklehre des 18. Jahrhunderts (pages 17–22), notes the change from the aristocratic concept of music as handiwork to the middle class idea of work of genius, as evinced in Mattheson’s writings and resulting in the string quartet as perfect synthesis. 3) Jürgen Eppelsheim, “Funktionen des Tasteninstruments in J.S. Bachs Sonaten mit obligatem Cembalo” (pages 23–33), analyzes in detail the relationship of top instrument to the cembalo in Bach’s 6 violin, 6 flute and 3 viola da gamba sonatas. 4) Gert Oost, “Die Bedeutung der niederländischen Hausorgel in der Kammermusik der ersten Hälfte des 18. Jahrhunderts” (pages 34–46), chronicles the widespread use of small house organs as continuo, especially by amateurs, in the 17th and 18th centuries in numerous countries. He gives detailed photos and shows how organs were hidden in furniture. 5) Bernd Baselt, “Zu einigen Fragen der Authentizität in G.F. Händels Kammermusik für ein Solo-instrument und Basso Continuo” (pages 47–9), considers the authenticity of the 15 so-called Op. 1 Solo Sonatas (first gathered together not by Handel but by Chrysander in 1879). Early editions show discrepancies as to what is really Handel’s (the 4 in A, E, g, and F). None have Handel’s trait of parodying his own works, as found in other authentic sonatas in Handel’s own hand. The author explains the 16 sonatas in Chrysander’s edition. 6) Franciszek Wesolowski, “‘Pièces de Clavecin en Concerts’ von J.Ph. Rameau als Beispiel der französischen Kammermusik für Klavier mit Begleitung anderer Instrumente” (pages 50–2), shows that despite Rameau’s claims to the contrary, these works cannot be played solo without serious harm to them. 7) Zdenka Pilková, “Die Violinsonaten der böhmischen Komponisten in den Jahren 1730–70” (pages 53–61), finds 2 types: virtuoso baroque violin part with basso continuo written by violinists, and obligato keyboard sonatas with violin accompaniment, especially written for dilettantes. In Bohemia, only the second type is considered (music by Benda, Václav Vodicka, J.V. Stomic, Anton Kammel, and Josef Myslivecek). 8) Rudolf Zelenka, “Verzierungsmöglichkeiten in der Violinsonate A-Dur von Frantisek Benda:

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ein Beitrag zur Entwicklung der Kammermusik in der 1. Hälfte des 18. Jahrhunderts” (pages 62–6), discusses Benda’s methods of ornamentation based on his manuscript in Berlin (Staatsbibliothek) and gives examples. He is uncertain if the 2 versions of Benda’s ornaments are by Benda himself or a friend or pupil, but in any case they are contemporaneous with Benda. 9) Peter Damm, “Bemerkungen zu zwei Kammermusikwerken mit Corno da Caccia von J.J. Fux und Chr. Petzold” (pages 67–76), shows that by the early 18th century hornists in Germany and Bohemia began to develop a technique distinct from trumpet music. 10) Günter Fleischhauer, “Bemerkungen zum ‘Telemannischen Geschmack’ in der Sonata a Cinque e-Moll” (pages 77–90). 214. Würtz, Roland. Dialogué: Vorrevolutionäre Kammermusik in Mannheim und Paris. Wilhelmshaven: Florian Noetzel Verlag, 1990. ML1104. W87.1990. ISBN 3-7959-X. 104 pages. A carefully but amusingly written essay on the significance of the term “dialogue” in chamber works of the 1760s to 1770s, mostly published in Paris, by among others K.J. Toeschi and Christian Cannabich, both Mannheimers. The new, fashionable dialogue was the exchange of motives among chamber instruments similar to the exchange of aphorisms among guests and hosts at a Parisian academy that was common in the Paris salons of the day. It is not learned music, but it is also not free fantasy. Würtz then analyzes some specific works to demonstrate the concept. 215. Hefling, Stephen E. Nineteenth-Century Chamber Music. New York: Schirmer Books/London: Prentice Hall International, 1998. ISBN 002-871034-7. ML 1104.N56.1998. xv + 389 pages. Reprint: New York: Routledge, 2004. ISBN 0415966507. A major collection of essays on the chamber music of the most important 19th-century composers: “The Chamber Music of Beethoven” (Kofi Agawu); “Schubert’s Chamber Music” (Stephen E. Hefling and David S. Tartakoff); “The Chamber Music of Spohr and Weber” (Clive Brown); “The Chamber Music of Mendelssohn” (R. Larry Todd); “‘Beautiful and Abstruse Conversations’: The Chamber Music of Schumann” (John Daverio); “Discourse and Allusion: The Chamber Music of Brahms” (Margaret Notley); “Chamber Music in France from Cherubini to Debussy” (Joël-Marie Fauquet); “The Chamber Music of Smetana and Dvorák” (Derek Katz and Michael Beckerman); and “Fin de siècle Chamber Music and the Critique of Modernism” (John Daverio). An easy-to-read style of writing coupled with a high level of scholarly and theoretical sophistication makes these chapters excellent for the student, scholar, and professional alike.

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See also Jim Samson, ed. The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2001, ISBN 0-521-59017-5), where chamber music is treated in passing within the history of all music of the 19th century. 216. McCalla, James. Twentieth-Century Chamber Music. New York: Schirmer Books/London: Prentice Hall International, 1996. ML 1106 M33.1996. ISBN 0-0287-1348-6. ix+274 pages. 2nd ed. New York: Routledge, 2003. ISBN: 0415966957. xxviii + 284 pages. McCalla shows that chamber music has become the medium through which composers of the 20th century have developed their new conceptions of music – those new conceptions that have changed the course of music, musical performance, musical aesthetics, and all the parameters of music in the 20th century. He expands on the use of literary connotations for chamber music, something barely considered before Schoenberg’s “Verklärte Nacht,” “Pierrot Lunaire,” and “Second String Quartet” – vocal with chamber music, theatrical with chamber music – and new colors – electronic, percussive, even wind and strings – with traditional colors has resulted in the broadening of chamber music. 217. Ottner, Carmen, ed. Kammermusik zwischen den Weltkriegen: Symposion 1994. Vienna: Doblinger, 1995. ISBN 3-9006-9534-2. ML1106. K36.1994. xii + 269 pages. A collection of 5 essays (lectures) followed by 2 round tables each with 6 papers. A third round table is a discussion among the participants in this symposium. The general topic is German and Austrian chamber music between the 2 world wars. The lectures are: “Kammermusik zwischen den Weltkriegen: drei Vorüberlegungen” (Wolfgang Gratzer); “Das A-Dur-Streichquartett von Franz Schmidt: ein Werk im Zeichen der Tradition” (Bo Marschner); “Analytische Notizen zum 2. Streichquartett G-Dur von Franz Schmidt” (Friedhelm Krummacher); “Franz Schmidts Quintette: Kammermusik mit Klavier für die linke Hand allein” (Gerhard J. Winkler); and “‘Arnold Rosé ist nicht bloss ein Wiener Meistergeiger … er ist der erste Quartett-Spieler der Zeit’ (Julius Korngold 1932)” (Carmen Ottner). The papers of the first round table are: “Ästhetische Konzeption und kompositorische Verwirklichung: zu Hans Pfitzners Klavierquintett C-Dur op. 23” (Thomas Leibnitz); “Kammerspiele—Zemlinskys Quartette oder Versuch einer Darstellung des Uneigentlichen” (Manfred Angerer); “Paul Hindemiths Streichquartett op. 32” (Rudolf Stephan); “Das Bekenntnis zur Tradition: Bemerkungen zu Schönbergs III. und IV. Streichquartett” (Christian Martin Schmidt); “Struktur und Semantik Alban Bergs ‘Lyrischer Suite’” (Constantin Floros); and “Amerika

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Alpenland: zu Anton Weberns Quartett für Geige, Klarinette, Tenorsaxophon und Klavier op. 22 (1928/1932)” (Hanns-Werner Heister). The papers of the second round table are: “Die Streichquartette von Joseph Marx: Variationen über das Thema ‘Bewahren’ oder Tradition als ästhetisches Programm” (Christoph Khittl); “Zum Streichquartettschaffen von Egon Wellesz” (Peter Revers); “Erich Wolfgang Korngold: Between Two Worlds? Oder über die Streicherkammermusik eines Opern-und Filmkomponisten” (Susanne Rode-Breymann); “Ernst Kreneks Streichquartette Nr. 1–6” (Claudia Maurer-Zenck); “Die Stellung des Streichquartetts im Schaffen Hans Erich Apostels” (Rainer Bischof); and “Tondokumente in ihrer Bedeutung für die Musikrezeption” (Franz and Gerda Lechleitner). The following books, in discussing the history of so many masterworks of chamber music, do achieve some sort of overall picture. 218. Renner, Hans, ed. Reclams Kammermusikführer. 9th ed. Stuttgart: Reclam, 1980. MT 140.R43.1980. 928 pages. 6th ed. 1966; 7th ed. 1974; 8th ed. 1976. Mostly a chronological presentation (from Lassus! to Jean Françaix) of the masterpieces of chamber music, with a brief biography of the composer, a brief analysis of each piece or representative pieces, and a survey of each composer’s chamber music. This book also includes a brief history of chamber music, with a special section on music since 1945, and separate discussions of the chamber music of 20 countries or regions of the world. It has a useful index. This is an excellent, handy guide for the layperson who can read German, similar to Berger 219 but much vaster in scope, much more concise yet pithier, and basically benefiting from years of re-editing. The small print and thin paper, however, do not make it as physically durable and readable a book. 219. Berger, Melvin. Guide to Chamber Music. New York: Anchor Books, 1989. ISBN 0-3854-1149-9. xix + 470 pages. Originally published by Dodd, Mead, 1985. Reprint New York: Anchor Books, 1989. 3rd, corrected ed. Mineola (NY): Dover Publications, 2001. ISBN 0486418790. xv + 461 pages. Non-technical discussion of 231 chamber works for 3 to 8 players by 55 composers, from the late 18th century to the present, arranged alphabetically by composer. Besides the basic composers, there are a few 20th-century ones much less often represented in general discussions (for example Barber, Crumb, Dahl, Druckman, Fine, Kirchner, Kraft, Laderman, Nielson, Piston, Rochberg, Schuller, Sibelius, and Siegmeister). The guide gives a biography and the chief stylistic

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characteristics of each composer, followed by useful information on the chosen pieces. It is a very useful book for program annotators, lower level teachers, laypersons, and performers. Despite the weaknesses in the above-mentioned works, they are a vast improvement over what existed much earlier in the 20th century. The following is one of the worst. 220. Walthew, Richard Henry. The Development of Chamber Music: Three Lectures Delivered at South Place Institute 1909. London/New York: Boosey & Co., 1909. ML 1106.W4.1909. 48 pages. An amateurish, unsophisticated, prejudiced misrepresentation of the development of sonata form and other elements of chamber music. It confuses genres and basic concepts and is depressingly short on facts. It is of interest only to period scholars who need evidence of how ignorant the English aristocrat was in regards to chamber music in 1909. In light of the above, the following was a major break-through (especially since it appeared before the book by Walthew). 221. Kilburn, Nicholas. Chamber Music and its Masters in the Past and in the Present. New and enl. ed. Gerald Abraham, in The Music Story Series. London: William Reeves Bookseller/New York: Charles Scribner’s Sons, [1932.]. ML 1154.K48.1932. vii + 222 pages, 12 photos, 70 musical examples, discography. Original title: The Story of Chamber Music. London: Walter Scott Publishing Co./New York: Charles Scribner, 1904. ML 1154.K48. Reprint 1932 ed. Boston: Longwood Press, 1977. A history of chamber music that is dated but which has useful information on English chamber music and an important discussion (by Abraham) of Russian chamber music from Glinka to Arensky. This book gives general discussions of composers’ oeuvre rather than detailed discussions of individual pieces. A special topic within the general history of chamber music is the history of Hausmusik. The most valuable overview is: 222. Finscher, Ludwig. “Hausmusik und Kammermusik,” in Musica, xxii (1968), 325–9. Also in Richard Baum and Wolfgang Rehm, eds, Musik und Verlag: Karl Vötterle zum 65. Geburtstag am 12. April 1968 (Kassel: Bärenreiter, 1968), 67–76. ML 55.V537M9. An historical account of the functions of Hausmusik and chamber music. Finscher defines chamber music as solo instrumental music

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for 2 to 9 voices, and Hausmusik as that chamber music technically and spiritually easy enough for the lay musician to play in his own social milieu. He explores the possibility of structural as well as functional distinctions. Until c.1700 function was the primary distinction. Then both Mattheson and Scheibe recognized the greater development of material in chamber music. By 1800 there was a new distinction between concert and chamber music. By the mid-l9th century, Hausmusik became clearly distinct, but as a subculture it had already existed back in the 16th century and especially after 1800. Wilhelm Heinrich Riehl makes this salon music worthy of study in the 1950s. He studies the Bärenreiter catalogues of the 20th century to ascertain what is considered Haus- and what chamber music. A specialized history of Hausmusik in Berlin gives a general impression of the history of Hausmusik throughout Europe: 223. Höcker, Karla. Hauskonzerte in Berlin. Berlin: Rembrandt, 1970. ML 279.8 B2H6. 192 pages. 26 photos. An historical account of Hausmusik in Berlin beginning with Sophie Charlotte, first Prussian Queen, and, after 1740, Friedrich the Great. Hausmusik can be orchestral or vocal (solo, choral, opera) as well as chamber; it is performed with or without an audience, usually in private homes or halls. Early Hausmusik (late 18th century) is chamber music or other music meant for amateurs and professionals with a middle-class status (replacing royal concerts in palaces). Some groups were very informal; others were strictly organized. Later Hausmusik (from the early 19th century to immediately after World War II) developed more into a private concert without an audience, such as Joachim and Mendelssohn’s family music. This book stresses the personalities and locales of chamber music in Berlin, including the large Jewish impact, but never seems to distinguish Hausmusik from chamber music. Hausmusik has 5 characteristics: an artistic niveau; only invited guests form the audience; no commercial aspects; a certain regularity in meeting, and an aim at enjoyment in music. This was written for popular audiences, but it is of use to scholars as well in understanding an important aspect of the performance of chamber music. See also 704–713. For a contemporary view of Hausmusik by an English writer of the 19th century see the next work. 224. Hullah, John Pyke. Music in the House, in Art and Home Series. 3rd ed. (?) London: MacMillan, 1877. ML 67. H91. 4th ed. London: Macmillan, 1878. Ed. used: Philadelphia: Porter & Coates, n.d. [frontispiece has 1876]. ML 67.H8M8. vii + 79 pages.

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An early English treatise on Hausmusik that includes unaccompanied and accompanied vocal music along with instrumental music (where the piano is central). Written for the layperson, it is useful today as an historical document on taste, on the state of the art, and on the levels of misconceptions the intelligent layperson of the 1870s possessed concerning the history of chamber music and all other music as well. Especially interesting is a chapter on “Practice and Rehearsal”, where the former is first and private, the latter later and with the others who make up the ensemble. It contrasts an opera rehearsal with a home rehearsal and gives some relevant advice: “Practice is only of use when concentrated on that which we cannot yet do.” For an overall, non-technical study of ensemble music of all kinds, see Wessem’s Het Musiceeren 604. General histories of a particular instrument or family of instruments in regard to chamber music will be found in 446–471. For a discussion of chamber music in the 1960s, see Milos Stedron’s essay in 675, pages 497-505. THE STRING QUARTET The string quartet has frequently been extolled as the and many equate chamber music with string quartet. former is a subjective matter, but clearly the latter simplification and much too narrow. Many writings on suffer from these assumptions and must be put into offer valuable information on the quartet even if they are adulation.

perfect art genre, The truth of the is a gross overthe string quartet perspective: they presented in blind

The only overall history of the string quartet in 1 full volume is: 225. Griffiths, Paul. The String Quartet. [London]: Thames and Hudson, 1983. ML 1160.G74.1983. 240 pages. Technical, detailed analyses of some of the most important quartets and many not so important, presented in historical sequence and with consideration of stylistic, formal, and harmonic developments from composer to composer and from period to period. This has a useful index and chronology of works from 1759 to 1982. Its conversational, non-scholarly tone is seemingly aimed at the concert-goer and amateur player but is a bit too technical for them. The longest and most thorough history is: 226. Krummacher, Friedhelm. Das Streichquartett, in Handbuch der musikalischen Gattungen, ed. Siegfried Mauser, Band 6. Teil 1: Von Haydn

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bis Schubert (374 pages). Teil 2: Von Mendelssohn bis zur Gegenwart (515 pages). Laaber: Laaber-Verlag, 2001–3. ISBN 3890075177. 2nd ed. with new title: Geschichte des Streichquartetts. Laaber: LaaberVerlag, 2005. Band 1: Die Zeit der Wiener Klassik (xix + 452 pages). Band 2: Romantik und Moderne (vi + 413 pages). Band 3: Neue Musik und Avantgarde (vi + 451; this volume has the index for all 3 volumes). ISBN 3890075878. The most comprehensive and up-to-date history, in any language, of the string quartet from Haydn and his early contemporaries to the end of the 20th century (the final stages are discussed by Joachim Brügge). Krummacher takes into account not only the compositions and the performers throughout the 250-year history of the genre but also the critics and analists, nationalism, and prevailing musical styles. There are many pictures of historical ensembles and composers, and many musical illustrations. Footnotes are presented as sidenotes, in a convenient position so as not to interfere with the main text but so as to be readily available to the scholar. There is a comprehensive bibliography for each volume (cf. Mara Parker for an English-language, annotated bibliography of works about the string quartet). This monumental history should be the basic reference work on the string quartet for laypersons and scholars for the foreseeable future. The most up-to-date histories are: 227. Fournier, Bernard. L’histoire du quatuor à cordes. Vol. 1: Haydn to Brahms. Paris: Fayard, 2000. ISBN 2-213-60758-3. 1206 pages. Vol. 2: 1870–1945. Paris: Fayard, 2004. ISBN 2-213-61069-X. 1293 pages. An enormous encyclopedia of string quartet compositions, arranged chronologically by composers, schools, and nationalities, with in-depth essays on the major composers and styles. The most important string quartets are analyzed in detail, which accounts for the great length of the volumes. While Volume 1 is among a group of similar works in English and German, Volume 2 is unique in the time period covered. 228. Finscher, Ludwig, and Laurenz Lütteken. Streicherkammermusik. Kassel: Bärenreiter/Stuttgart: Metzler, 2001. ISBN 3-7618-1624-3/ 3-476-41040-4. 176 pages. A collection of major articles on string chamber music originally appearing in the second edition of Die Musik in Geschichte und Gegenwart 2. Finscher’s essay on the string quartet from Haydn to Shostakovich summarizes his monumental and prolific works on the string quartet over the past 30 years. It includes a selective bibliography.

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A short and concise history is: 229. Finscher, Ludwig. “Das Streichquartett,” in Reclams Kammermusikführer, ed. A. Werner-Jensen and others (Stuttgart, 12/1997), 101–16. A limited history is: 230. Konold, Wulf. The String Quartet from its Beginnings to Franz Schubert, in Paperbacks on Musicology, No. 6. trl. Susan Hellauer. New York: Heinrichshofen Edition, 1983. ML 1160.K6513.1983. ISBN 3-7959-0345-9. 209 pages. Original Das Streichquartett, von den Anfängen bis Franz Schubert. Wilhelmshaven: Heinrichshofens Verlag, 1980. The first in what is proposed as a multi-volume history of the string quartet, emphasizing the high and main points rather than the minor ones. It concentrates on Haydn, Boccherini, Mozart, Beethoven, and Schubert (it dwells on the earliest quartets, not the masterpieces), with no mention of others. Written for the layperson, it is greatly dependent on Finscher 234 and other scholars for data but is misleading by omission and by emphasis. The English translation is horrendous. There is a good, though by no means complete or fully representative bibliography in the German version; the bibliography in the English version is riddled with errors. A very simple, unsystematic history is: 231. Kramarz, Joachim. Das Streichquartett, in Martens-Münnich, Beiträge zur Schulmusik, Heft 9. Wolfenbüttel: Möseler, 1961. ML 1160. K89. 78 pages. 77 musical examples. Companion volume Musikalische Formen in historischen Reihen, von Haydn bis Hindemith: das Streichquartett in Beispielen with complete musical examples. In German. A text for German high school teachers with a minimum of musical knowledge, so that they can convey to their students those subtleties of quartets that are not so obvious as symphonies. It does not give methods but scholarly and artistic facts. This is not a systematic history of the quartet but, through examples, a general presentation. The early history is based on Lehmann 238, Sandberger 239, and Torrefranca 248 and therefore is now outdated. The rest of the book runs through specific quartet examples by famous composers, with a final chapter on special sound effects in quartet writing. Each discussed quartet is treated briefly, with a few characteristics of each movement including form, special thematic relationships, chords, and so on. The book is useful at the level for which it was written.

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232. Angerer, Manfred, Carmen Ottner, and Eika Rathgeber, eds. Musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002. In Beiträge der Österreichischen Gesellschaft für Musik, Band 12. Vienna: Doblinger, 2006. ISBN: 3900695814. 172 pages. A collection of 12 essays on various aspects of the string quartet by important scholars. The contents are: “Gestrichener Kanon: einleitende Bemerkungen zu Anspruch und Geltung, zu Mythologie und Lokaltradition der Gattung Streichquartett” (Manfred Angerer); “Budapest—zwischen Wien und Paris? zu Bartóks I. und II. Streichquartett” (Hartmut Fladt); “‘Mich überfährt ein ungestümes wehen—’: Anmerkungen zu den Streichquartetten Arnold Schönbergs” (Gerold W. Gruber); “Berührung der Extreme: zum StreichquartettOEuvre Franz Schuberts” (Hans Joachim Hinrichsen); “Zemlinskys Zweites Streichquartett op. 15” (Erika Hitzler); “Vielfalt und Vermittlung: Versuch über Mozarts Quartettsatz” (Friedhelm Krummacher); “Zur Komplexität in Alban Bergs Streichquartett op. 3” (Klaus Lippe); “Autobiographie für vier Instrumente: zu den beiden Streichquartetten Bedrich Smetanas” (Carmen Ottner); “Monologe zu Viert: Janáceks Selbstdramatisierung in den Streichquartetten” (Erika Rathgeber); “‘Vater Haydn muss im Grabe lächeln’: Johannes Brahms und die Wiener Quartett-Tradition” (Salome Reiser); “Ein Streichquartett aus einer neuen Welt: Dvoráks verfrühte Entdeckung der Moderne um 1870” (Hartmut Schick); “Anton Weberns Sechs Bagatellen für Streichquartett op. 9: Annäherungen an eine poststrukturalistische Lesart” (Dominick Schweiger); and “Konversation und Kontrapunkt: Johann Nepoumuk Hummels Streichquartett op. 30” (Gerhard Winkler). A biographical-bibliographical history is Wilhelm Altmann’s Kleiner Führer durch die Streichquartette für Haus und Schule 80. Several other older histories are so bad they should be avoided: Marc Pincherle’s Les Instruments du Quatuor 2605 is out of date in its history of the music of the string quartet but is useful for its history of string quartet groups; equally poor is: 233. Stoeving, Paul. The Violin, ‘Cello and String Quartet, in Fundaments of Musical Art, Band 10. New York: The Caxton Institute, 1927. MT 6.F9 Vol.10. vi + 135 pages. A bad source for information on the string quartet, riddled with misconceptions, historical inaccuracies, and false assumptions. The book presents apocryphal statements typical of the misinformation harbored by some devotees of the string quartet; most of the writings in this bibliography will correct such fables.

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The meteoric rise of the string quartet to Olympian heights during the second half of the 18th century has fascinated numerous performers and scholars. The best account is: 234. Finscher, Ludwig. Studien zur Geschichte des Streichquartetts, i: Die Entstehung des klassischen Streichquartetts von den Vorformen zur Grundlegung durch Joseph Haydn, in Saarbrücker Studien zur Musikwissenschaft, Band 3. Kassel: Bärenreiter, 1974. ML 1160.F58.1. ISBN 3-7618-0419-9. 388 pages (pages 303–88 musical examples). Habilitation dissertation. University of Saarland, 1967. An important scholarly study of the origins of the string quartet by Germany’s leading scholar in the field of chamber music. It suffers from profuseness, lack of an index, and appearing just before Webster’s dissertation and important essays on the earliest Viennese quartets 240, 241, 242. The 2 earliest composers of real quartets are Boccherini in 1761 and Haydn in 1760 (composed in the 1750s; see Webster 1505). The second half of the book traces Haydn’s development from the Op. 1 divertimenti to the mature Op. 33 quartets (1782), the latter being the first fully formed classical string quartets and therefore the basis for defining “string quartet.” The first half of the book attempts to study what relationship if any certain musical types of composition of the 17th and 18th centuries have with the classical string quartet. It avoids the mistaken idea that the development of a genre of composition is historically connected with the development of a form of a movement, or that a 4-voice sonata or canzone per se is a string quartet (a 4-voice string work of an earlier period is a relevant precursor). What characterizes the classical string quartet (and these elements are what one seeks in its forebears) are a 4-voice setting; the homogeneous sound of an ensemble of solo strings of the same family; the juxtaposition of different textures while maintaining the ideal balance of the 4 voices; the cyclic sonata form in its differing guises; the classical predilection for sensitive yet simple movement forms and different levels of meaning; the principle of thematic-motivic development; and the intimacy of chamber music. In his progression from Op. 1 to Op. 33 Haydn strives after both loftier spiritual goals as well as more advanced structural possibilities. The quartets of Op. 33 are classical both in the sense that they have perfect balance of harmony and organization and also in the sense that they are the first manifestation of the mature Viennese style—before opera, symphony or piano sonata. In tracing the quartet’s forebears, consideration needs to be given to 1) different nationalities (Italy, Paris, Vienna-South Germany-Bohemia, England, North and Middle Germany) and the different lines of development even from town to town; 2) the genres of pre-string quartet music

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(sinfonia and sonata a quattro, concerto and concertino a quattro, sonate-concert and symphonie en quatuor, Quartett-symphonie, quadro or quartet divertimento); and 3) stylistic changes (disappearance of the continuo, orchestral and solo settings, the 4-voice setting and the violin family). This study concludes with an essay on “The Theory of the String Quartet,” which assumes that the string quartet is a perfect art type, in which the 4-part setting becomes the ideal both per se and as a conversation among 4 persons (a concept first expressed by Johann Friedrich Reichardt, Vermischten Musikalien [Riga: 1773], page 204, and here traced into the 19th century to Mendelssohn). See also 1509. 235. Finscher, Ludwig. “Zur Geschichte des Streichquartetts als musikalischer Gattungsgeschichte,” in Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz (Vienna: Universal Edition, 1975), pages 80–9. A major treatise on defining the early string quartet. The idea of the string quartet, as expressed by Carl Maria von Weber at a time when the quartet was most highly esteemed (1818), contains 2 presumptions: that the 4-voice polyphonic texture is the most perfect one for music, and that Mozart and Haydn present the epitome of the quartet. Finscher briefly discusses the first point and then considers what it is that Weber found crucial in the quartets of Haydn that define the genre. He shows how Boccherini’s style of quartet developed into the concertant (all 4 musicians are equally important with significant music) owing to the market in Paris; he was followed by Cambini who then encouraged the quatuor brilliant (the first violin shows off accompanied by the other 3 players) that was pursued by Spohr and other traveling virtuosi. Haydn’s style, however, was conditioned by his audience, which was not capitalistic, and where he actually had more freedom to be musical and did not need to show off. That style became the ideal for Weber and for his whole generation. This then became the fixed model for the string quartet ever since. The best pioneering studies are the next 3: 236. Revers, P. “Sprachcharakter und Zeitgestalt: Aspekte der Gattung Streichquartett,” in Österreichische Musikzeitschrift, li (1996), 231–41. Revers develops an aesthetic theory of the gesture of conversation as opposed to the traditional conversational theory (from Reichardt and Goethe) when the 4 players of a string quartet perform together. The players are not conversing but pretending to converse. To pretend to converse is instrumental recitative, which is not real recitative (that is vocal) but imitation recitative. Instrumental recitative follows

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the rhythm of vocal recitative, which is not musically metrical. Revers follows this in the Cavatina of Beethoven’s Op. 130 quartet, in Janácek’s First String Quartet (1923), and in Elliott Carter’s 4 quartets (1951–86)—especially No. 2. The quartet is more a drama where the players act alone, act together, or act in conflict with one another from scene to scene. 237. Pincherle, Marc. “On the Origins of the String-Quartet,” trl. M.D. Herter Norton, in The Musical Quarterly, xv (1929), 77–87. Presents some of the basic questions and a few possible answers on the origin of the string quartet. The originality of the string quartet does not lie in its form but in its combination of 2 violins, viola, and cello. The precursors include the various Renaissance consorts, which possessed “the spirit of the quartet”: 4 homogeneous string instruments. Pincherle mentions such works by Benjamin Rogers (1653), Purcell, Florentio Maschera (1593), Adriano Banchieri (1603), Giovanni Gabrieli (1615), Gregorio Allegri (before 1650), and others. He assumes that the harpsichord or other keyboard-harmony instrument would not be used. Specifically Giuseppe San Martini (1743) and Guillemain (1739) allow for performance without harpsichord. 238. Lehmann, Ursula. Deutsches und italienisches Wesen in der Vorgeschichte des klassischen Streichquartetts. Würzburg-Aumühle: Konrad Triltsch, 1939. iii + 110 pages. 785.74 L523d. Originally PhD dissertation, Berlin. Seeks German and Italian elements in the development of the string quartet out of continuo-accompanied works of the Baroque for 2 treble instruments + 1 alto instrument + continuo. Lehmann considers the relationship of the instruments to each other, the nature of the themes and expositions of the first movements, the processes of development, and the forms of the whole piece as well as the sonata form of the first movement. She studies works written 1700–70, though some forerunners of the quartet go back into the 17th century. The book begins with a labored discussion of German versus foreign musical characteristics of the 17th and 18th centuries as reflected in writings of the time, and tries to distinguish Italian from German concepts of melody (Italian is more flowing, elegant, as evinced in 17th-century trios, suites, sonatas), and Italian from German harmony (Germans more frequently mix modes). The 18th-century North German harmony builds a flowing, sequential melody, while the Italian uses a short head-motive and periodization. The early South German and Austrian quartets have a buffoonlike melodic style similar to divertimenti. Lehmann gives intricate analyses and comparisons of 17th- and 18th-century Italian and German chamber music. See Finscher’s critique in 234.

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Perhaps the most important history is given in: 239. Sandberger, Adolf. “Zur Geschichte des Haydnschen Streichquartetts,” in Ausgewählte Aufsätze zur Musikgeschichte (Munich: Drei Masken Verlag, 1921; reprint Hildesheim/New York: Georg Olms Verlag, 1973; original in Altbayerische Monatsschrift 1900), pages 1–24), i, 224–65. ML 60.S26. ISBN 3-487-04900-7. Possibly the most famous single essay on the history of chamber music and the most often cited, especially on the history of the string quartet. A scholarly, well-documented study of the beginnings of the quartet, which serves as the basis for all subsequent studies. It seeks the origins of the quartet in Haydn’s “cassation” and “quadro” and explains that Haydn’s later statement on Op. 33 as a new kind of quartet is based on his new conception of thematic development. The forebears of the quartet include cassation, divertimento, and serenade. The old German orchestral suite and sonata united in the homophonic cassation, with no continuo; folk music influenced the art dances toward homophony, simplicity, and gaiety. The old orchestral sonata and chamber sonata led to the modern Italian symphony; movements 1 and 3 are light allegros in sonata form, while movement 2 is an andante. Sandberger also argues that the Italians developed the divertimento for winds and strings, similar to the opera sinfonia and derived from the old divertimento da camera, with 3 movements—the last a minuet. Some Germans (Placidus Cajetan von Camerloher [1718–82], Franz Aspelmayer [ = Asplmayr, 1728–86], and Franz Josef Aumann [ = Aumon, 1728–97]) combine these Italian elements with a German folk spirit. The string writing is usually simple and is the starting point for Haydn’s quartets. The author also discusses the quadro of 4 voices—he quotes Scheibe, Criticus musicus (1745), page 679. There are 2 types: slow-fast-slow-fast (da chiesa sonatas) and fast-slow-fast (concertante). The neapolitan influence here eventually favored the concertante in form. The biggest problem with this argument is: “When did the continuo give way?” Since many cases are doubtful, Sandberger looks for internal evidence. He studies a large number of specific quadros, where old and new elements mix; he notes the differences in national styles and finally returns to Haydn’s quadros and cassations. The early quartets mix suite, chamber trios, and chamber quartets (and opera sinfonias, keyboard sonata, and concerto); Haydn’s genius makes something unusual with all these. Finally, he traces the development of the quartet to Op. 33 and Mozart’s involvement. The important question of the bass part of the quartet is dealt with in: 240. Webster, James Carson, Jr. “The Bass Part in Haydn’s Early String Quartets and in Austrian Chamber Music, 1750–80.” PhD dissertation.

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Princeton University, 1973. UM 74–17499. DA xxxv.2A, pp. 1149–50. 429 pages. An important study of the nature of the bass part of chamber music as the string quartet emerges. Austrian divertimenti 1750–80 were solistic works with “basso” designating the bass line but not implying instrumentation or orchestral performance. Both the cello (often termed bassetl) and a 5-string string bass were commonly used in solistic music. After 1780 the bass instruments were specifically called for. Webster picks the instruments for many works on the basis of the range of the instrument and includes “the first complete survey of authentic sources for Haydn’s 68 string quartets.” Documents show that all Haydn’s quartets from Op. 17 (1771) on were solistic, with cello as the bass; for the earlier quartets anecdotal evidence indicates the same. Op. 9 demands the solo cello on stylistic grounds; the 10 early quartets probably do too, but the evidence is inconclusive. Webster cites over 1,000 Austrian multi-movement ensemble works from the years 1750–80. 241. Webster, James. “Violoncello and Double Bass in the Chamber Music of Haydn and his Viennese Contemporaries 1750–80,” in Journal of the American Musicological Society, xxix (1977), 413–38. An important scholarly study of the meaning of the basso part in classical Austrian chamber music. It did not mean double bass but “bass part.” After a detailed discussion of 18th-century descriptions of the cello and bass, based largely on Leopold Mozart, Webster identifies specific players of these instruments at Esterhaz and, from Esterhazy documents, the exact nature of their instruments. While the cello is much like the modern instrument, the bass was tuned differently: F1, A1, D, F#, A (the low F is open to question at Esterhaz). The problem remains: in chamber music there is little evidence to support that either the cello or the bass or both were used for “bass” in the early Haydn chamber music. But in the majority of cases, especially when low C is used, the solo cello is the probable instrument. 242. Webster, James. “The Bass Part in Haydn’s Early String Quartets,” in The Musical Quarterly, lxiii (1977), 390–424. A scholarly answer to 2 basic questions in the performance of Haydn’s early string quartets. 1) Were they written exclusively for solo or for solo with ad libitum orchestral performance? Answer: for 4 solo string instruments. 2) What was the instrumentation of the “Bass” part? Answer: “From Op. 9 on, the scoring of the bass is certainly the solo violoncello; in the early quartets it probably was the cello, but other scorings cannot be definitely excluded.”

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The question of doubling of parts is treated further in: 243. Hickman, Roger. “The Nascent Viennese String Quartet,” in The Musical Quarterly, lxvii (1981), 193–212. An attempt to distinguish orchestrally conceived “divertimenti” a4 from solistically conceived “divertimenti” a4 on the basis of stylistic elements. The emergence of the solo versions in the late 1760s can be seen in the transition from Haydn’s Opp. 1 and 2 to Op. 9 and in the quartets of Vanhal and Gassmann. Many earlier works were titled “symphonies ou quatuors.” Hickman proposes that “string quartet” be used for the specific genre that flourished from the late 1760s on, and that all precursors and hybrids before the late 1760s be termed “divertimenti a quatro.” This way, the earlier types can be treated as “masterly examples of the then prevailing forms” rather than as pale forebears of the classical quartet. The question of the earliest quartet is mistakenly treated in: 244. Dent, Edward J. “The Earliest String Quartets,” in The Monthly Musical Record, xxxiii (1903), 202–4. Claims Alessandro Scarlatti’s Sonatas a Quattro (2 violins + viola + cello), written sometime between 1715 and 1725, are the first string quartets. Dent analyzes the form of the Scarlatti works and compares them to the works of Corelli. See Finscher’s refutation 234. 245. Hull, A. Eaglefield. “The Earliest Known String Quartet,” in The Musical Quarterly, xv (1929), 72–76, + xii pages musical insert and 1 unnumbered facsimile page. Picks Gregorio Allegri’s “Symphonia pro chelybus omnibus numeris absolutissima” as the first string quartet and reproduces it here. The piece for “Duoi Violini, Alto, & Basso di Viola” was first printed by A. Kircher, Musurgia Universalis [Rome: 1650], i, libro vi, “De Musica instrumentali,” pages. 487–94). Dent’s consideration of A. Scarlatti’s chamber music is discussed. This article is extracted from Cobbett (10). Many others deal with the precursors; besides those above, see Vit on some quartet-symphonies in 675, pages 109–13 and: 246. Rothweiler, Hugo. Zur Entwicklung des Streichquartetts in Rahmen der Kammermusik des 18. Jahrhunderts. Reproduction of unedited typescript, 1935. ML 1160.R6Z8. Apparently a final draft of an inaugural dissertation. University of Tübingen, 1934. ii + 71 pages, 47 musical examples.

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A loose definition of chamber music, a brief discussion of gallant versus effective styles, and then a thematic analysis of Tartini’s Sonata a Quattro in D and Haydn’s Op. 33, No. 3, in order to determine the sound of the classical quartet. Rothweiler gives an annotated list of composers whose works are important for the prehistory of the string quartet (Tartini, Sammartini, Sacchini, Pugnani, Boccherini, Cambini, Giov. Batt. Cirri, Tom. and Gius. Giordani, J. C. Bach, Ant. Kammel, Joh. Stamitz, Franz Xaver Richter, Jean Baptist Wendling, Toeschi, Filtz, Franz Beck, Cannabich, Ernst Eichner, Willielm Cramer, Schobert, Abel, Wagenseil, Georg Matthias Monn, Aspelmeyer, Starzer, Gassmann, Albrechtsberger, Vanhal, E.Al. Förster, Ignaz Pleyel, Wranizky, Joh. Gottl. Graun, Scheibe, Chr. Schaffrath, C.P.E. Bach, Joh. Zach, Placidus Camerloher, Telemann, Graupner, E.F. dall’ Abaco, and J.F. Fasch). He considers style, and the dichotomy between polyphony of 4 independent parts and the accompanied melody of 4 simultaneously sounding instruments in coordination. Finscher discredits this thesis since Rothweiler has built his whole premise of what constitutes the string quartet sound and style on 2 “arbitrarily chosen” works, which, for chronology and style, are scarcely comparable. 247. Olleson, Philip. The Rise of the String Quartet, in Arts: A Third Level Course, The Development of Instruments and their Music, unit 18. Milton Keynes: Open University Press, 1974. ML 1160.O44. ISBN 0-335-00863. 48 pages, 57 musical examples. Supplemented by Unit 19: the scores of the movements discussed in unit 18. Concentrates on the string quartet from its beginnings in the “late” 1750s through Haydn’s Op. 33 and all of Mozart’s quartets (especially K. 387 in G, 1782). It is designed for the layperson who can read music, as an introduction to the early quartet and a teachyourself text. It is an accurate, if shallow, account. Each chapter has question and answer exercises. A facsimile of the “Opus 3” Hoffstetter quartets clearly shows his name. Olleson identifies the basic principles of texture, form, keys, and gives a comparison of Haydn and Mozart. Adelmo Damerini, in “I Concerti a Tre di G. Antonio Brescianello” 1208, cites Brescianello’s works as precursors of the string quartet. 248. Torrefranca, Fausto. “Avviamento alla Storia del Quartetto Italiano, con Introduzione e Note a Cura di A. Bonaccorsi,” in L’Approdo Musicale, xii (1966), 6–181. Published posthumously by Bonaccorsi. A lengthy attempt to prove the Italian origins of the quartet through Italian stylistic achievements of the 18th century. It assails German

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attempts to consider Haydn and Mozart as interacting to create the quartet with no or little heed to Italian and French composers. It emphasizes Boccherini and Sammartini, as well as Galuppi, Cambini, Tommaso Giordani, Sacchini, and Rauzzini, with detailed style analyses of these composers. The Italian revolution in the 1700s is an “insurrezione di dilettanti contro la tradizione e l’Accademia,” which leads eventually to Italian romanticism, with Mozart (schooled in Italy) as one of its main protagonists. Torrefranca cites Sandberger on the origins of the quartet in the divertimento, but believes the quartet has its origins in the concerto in Paris and London as well as in Italy. At the end, he provides a list of terms for quartets or similar pieces, with sources using those names (late 17th – 18th centuries), a grouping of Italian quartet composers by generation, and an alphabetical list of Italian quartet composers of the 18th century. 249. Torrefranca, Fausto. “Mozart e il Quartetto Italiano,” in Erich Schenk, ed., Bericht über die musikwissenschaftliche Tagung der Internationalen Stiftung Mozarteum in Salzburg vom 2. bis 5. August 1931. Leipzig: Breitkopf & Härtel, 1932. NYPL *MEC (Mozart). Pages 79–102. Cites the Italian concerto as a source for the string quartet and Italians as important composers of the early string quartet. Torrefranca dwells on Mozart’s having heard the music of Boccherini, Giordani, and Sammartini just before Mozart wrote his first quartets. A much more accurate and recent study is Salvetti’s 1111. 250. Finscher, Ludwig. “Joseph Haydn und das italienische Streichquartett,” in Studien zur italienisch-deutschen Musikgeschichte, iv, in Analecta Musicologica, iv (1967), 13–37. Dismisses Torrefranca’s article 248 as unimportant, and reviews the failure of Italian string quartets at the time of the emergence of the great Viennese quartets of Haydn. The Italian quartet in the second half of the 18th century was weaker than the Viennese, Parisian, and English ones. Italy was economically weak and in political disarray; it stuck to traditional opera and church music rather than public subion concerts and Hausmusik as in the North. In Italy, string quartets were rare, isolated compositions. Finscher reviews the Italian publishers’ catalogues of the time and finds very little chamber music and very few imported quartets except some by Haydn and Cambini. Only the Tartini circle in Padua and the Doria-Pamphilj family in Rome enjoyed Hausmusik. The numerous Padua compositions, mostly in Berkeley today, are from the 1760s on and were played by professionals and connoisseurs; the Rome collection is strong on quartets and trios 1760–80. But Venice must have had a lot

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of chamber music c.1775, and Finscher uses Michael Esser’s quartets as evidence of this. Yet the most famous Italians (such as Boccherini and Cambini) went to Paris (others went to Vienna), though Boccherini kept his individuality while in Spain. Finscher discusses Felice Radicate (1775–1820), Angelo Benincori (1779–1821), and Luigi Tomasini: 3 Italians who lived in Vienna in Haydn’s time. Klaus Fischer’s “Die Streichquartette Gaetano Brunettis (1744–98)” 1229 draws the relationship between Italian and Viennese quartets of the late 18th century. 251. Hickman, Roger. “The Flowering of the Viennese String Quartet in the Late Eighteenth Century,” in Music Review l (1989), 157–80. Nearly 200 string quartets by 9 composers were published in Vienna from 1788 to 1800, while at the same time in Paris there were virtually no quartets by the most prolific composers of that genre before and afterwards: none by Cambini and Boccherini and none by Pleyel from 1792 to 1803. Furthermore, Haydn was the only major composer of the string quartet before 1788 who continued to publish during the last decade of the 18th century. Hickman concentrates on the enormous Viennese output—not duplicated even in Vienna after 1800. He considers the 3 styles: concertant, brilliant, and classic Viennese, and he analyzes a few representative examples of each. For a specialized study of the Austrian and French quartets at the end of the 18th century in an Austrian archive, see 577. 252. Hickman, Roger Charles. “Six Bohemian Masters of the String Quartet in the late Eighteenth Century.” PhD dissertation. University of California at Berkeley, 1979. UMI 80–00378. DAI xl.7A, p. 3616. 512 pages. An historical appreciation of Bohemian contributions to the development of the Viennese string quartet 1770s – 1790s. The 6 Bohemians are Gassmann, Vanhal, Kozeluch, Paul and Anton Wranizky, and Gyrowetz. Gassmann’s are “divertimenti a quattro” and use fugues and minor modes. Kozeluch writes quatuors concertants. The Wranizkys are more theatrical, and Gyrowetz points to the Romantic quartet. For a history of the Bohemian and Czech string quartet, see 500. A specialized study of the string quartets of Smetana and Dvorák is 2311. 253. Association Française pour le Patrimoine Musical. Le quatuor à cordes en France de 1750 à nos jours. Paris: Centre National du Livre, 1995. ISBN 2-9109-9500-3. ML1160.Q38.1995. 318 pages.

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A history of the string quartet in France from 1750 to 1995, presented in a series of essays by various authors, arranged chronologically. It includes “La naissance du quatuor à cordes français au siècle des lumières” (Michelle Garnier-Butel); “Les quatuors à cordes de George Onslow” (Viviane Niaux); “Les quatuors à cordes dans le premier tiers du xixe siècle” (Brigitte François-Sappey); “Le quatuor à cordes en France avant 1870 de la partition à la pratique” (JoëlMarie Fauquet); “Les quatuors à cordes de l’école de Franck” (Jean Gallois); “Les quatuors de Fauré, Debussy, Ravel et Roussel” (Jean Roy); “Koechlin, Schmitt, Honegger: musique pour les générations futures” (Michel Fleury); “Sur le quatuor en France entre les deux guerres” (Frédéric Robert); “Le quatuor à cordes de Darius Milhaud” (Frank Langlois); “Le quatuor à cordes après 1945: entre le genre et le medium instrumental” (Alain Poirier); “Quatuors contemporains II” (Gérad Condé); and “Catalogue des quatuors à cordes de musiciens français de 1750 à 1993, suivis de notes biographiques” (Bernard Neveu). In general, the essays are scholarly and deal with fundamental questions of terminology, scoring, style, form, chronology, publications, and historical influences. The useful bibliography lists French composers of string quartets chronologically within divisions by century, with the titles of the quartets, and brief biographies of the composers, alphabetically. There is also a discography. 254. Klein, D. “Le Quatuor … Cordes Français en 18e Siècle.” PhD dissertation. University of Paris, 1970. 255. Levy, Janet Muriel. “The Quatuor Concertant in Paris in the Latter Half of the Eighteenth Century.” PhD dissertation. Stanford University, 1971. UM 71–23531. DAI xxxii.3A, pp. 1552–53. x + 346 pages + lxvi pages of music. Examination of a representative nucleus of the several thousand quatuors concertants of Paris 1770–1800. [A quatuor concertante is a string quartet in which the first violin is virtuosic and dominates the ensemble.] Composers include Cambini, Dalayrac, I.J. Pleyel, F. Fiorillo, L.E. Jadin, J.B. Le Chevalier de Saint-Georges, P. Vachon, and G.B. Viotti, among others. Levy investigates the meaning of the term and concludes that, principally, the number of parts indicates the number of players, all parts are in dialogue (mutually important), and texture is the focus. He then goes into the style of the repertoire, with an emphasis on rhetoric and expression in the first movements and a consideration of basic musical components. The quartets “catered to dilettantism and/or showmanship.” This is an excellent overview of the genre.

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256. Oboussier, Philippe. “The French String Quartet, 1770–1800,” in Music and the French Revolution, ed. Malcolm Boyd (Cambridge/ New York: Cambridge University Press, 1992), 74–92. A general survey of the vast outpouring of string quartet compositions— mostly quatuors concertants—at the end of the 18th century in France. The quartets were performed privately by amateurs or sometimes also by professionals. French composers included Jean-Baptiste Davaux, François-Joseph Gossec, Pierre Vachon, and Hyacinthe Jadin (see also 1660), whose biographies and string quartets are discussed. Dieter Trimpert’s Die Quatuors Concertants von Giuseppe Cambini 1242 is an extremely important study of French quartet practice at the same time as the maturing of the Viennese quartets. For French string quartets during the Revolution see 559. See also 1670 and 577. 257. Parker, Mara. “Friedrich Wilhelm II and the Classical String Quartet,” in Music Review liv (1993), 161–82. Controversial claims that the classical string quartet emerged through the patronage of the Prussian King Friedrich Wilhelm II (ruled 1786–97), who played the cello. Eager to please him, composers gave equality to the cello. Parker reviews the theory of the evolution of the string quartet from the divertimento (Finscher) and the idea that there were various classical styles (Webster) and rejects both theories. From several types of string quartets during the late 18th century, the Prussian composers (including visitors Friedrich Benda, Boccherini, Mozart, and others) stressed the cello or at least gave it equal attention, and it was in Prussia, not Vienna, that the classical string quartet finally emerged. 258. Salvetti, Guido. “L’ultima fase del quartettismo italiano tra Viotti e Paganini,” in Chigiana, xxxviii (1982), 165–76. After discussing the Italian quartets of Viotti to Paganini in general, Salvetti analyzes the themes of the expositions of several quatours brillants to show the contrast between virtuosic first themes and the lyrical second themes. After Boccherini and Viotti, the Italian quartet nearly disappears. See Martinotti 600. For a study of a few Polish string quartets, see Maria Marchwica and Andrzej Sitarz’s Warsztat kompozytorski … 616. For the early Russian string quartet, see Carol Greene, “The String Quartets of Alexander Alexandrovich Aliabev” 769. For the history of Swedish quartets from the 18th to 20th centuries, see Wallner 637. For the string quartet in England in the 18th century, see 531 and 532.

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259. Schaffner, Anne. “The Modern String Quartet in America before 1800,” in The Music Review, xl (1979), 165–7. An important historical study of the existence of string quartet performances in the United States from 1786 on (46 different concerts containing string quartet pieces in 7 major East Coast cities from 1786 to 1800). European as well as American composers are represented. 260. Finscher, Ludwig. “Zur Sozialgeschichte des klassischen Streichquartetts,” in Gesellschaft für Musikforschung, Georg Reichert and Martin Just, eds., Bericht über den internationalen musikwissenschaftlichen Kongress Kassel 1962 (Kassel: Bärenreiter, 1963), pages 37–9. An attempt to dispel earlier notions that the classical string quartet was the province primarily of middle class music rooms and to a far less extent of courtly music rooms. In all courts, the nobility wanted to take part, but when the music became too difficult c.1800, the nobility changed to a listening audience. Only in Vienna did the nobility continue to play. The flood of easy quartet music designed for the middle classes was not acceptable to the higher tastes of the nobility, yet eventually, with the fall of the nobility, the middle class did inherit the best chamber music. This dichotomy between concert quartets of great difficulty for professionals and connoisseurs and easy quartets for the middle class and unskilled ones grew wider. The former grew more difficult, more esoteric. The middle class quartets were easier even in the heyday of the classical quartet—1780–1810— provided by Pleyel, Fränzl, Gyrowetz, Wranitzky, Kozeluch, and Krommer; Mozart and Haydn at this period were beyond the middle class. Especially the first violin dominates, so that 3 mediocre players can enjoy playing a quartet with only 1 violinist who is any good (the quatuor concertante). After 1810, this was replaced by quatuor brillant performed by traveling virtuosi (often a great violinist with pick-up musicians on the other parts). There were also arrangements from opera and orchestral music for string quartet. About 1815, the concert series begin in Paris, Vienna, Leipzig, and Prague for traveling professional quartets—the basis for the modern quartet concert. There were also semi-private house concerts where a traveling group was asked to perform. Serious quartet composition was designed and performed for and by the nobility; easy, artistically debased quartets were designed for the middle class 1780–1810. Individual studies of Haydn, Mozart, and Beethoven are in Chapter III, but 261 and 262 deal with the phenomenon of 3 such geniuses of chamber music collectively.

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261. Wolff, Christoph, ed. The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts. Isham Library Papers, No. 3. Cambridge: Harvard University Press, 1981. ML 38. C17I86.1979. ISBN 0-674-84331-2. 368 pages, 117 facsimiles, 40 musical examples. “The proceedings of an international musicological colloquium held at Harvard in 1979,” includes contributions by Lászlo Somfai, Jens Peter Larsen, James Webster, Georg Feder, Ludwig Finscher, Marius Flothuis, Alan Tyson, Christoph Wolff, Richard Kramer, Robert Winter, Sieghard Brandenburg, and Martin Staehelin. See separate entries in Chapter III. 262. Sauzay, Eugène. Haydn, Mozart, Beethoven: Étude sur le Quatuor. 1st ed. Paris: Sauzay, 1861. ML1160.S24. 2nd ed. Paris: Firmin-Didot et Cie, 1884. ML 1160.S25. vi + 173 pages. Haydn, Mozart, and Beethoven perfected the string quartet, each in his own way but dependent initially on the previous one. We discover progress of the genre from simplicity to complexity—the ultimate complexity is again simplicity. There is the appearance of organic unity in the complete oeuvre of the 3 composers with individual variety. String quartets are perfect; trios and quintets are less perfect. Sauzay gives a thematic index of the oeuvre, with brief biographies of each composer, and it is reasonably accurate and detailed for the time. He is an intelligent writer and, while the scholarship is dated, this is an excellent source for European attitudes towards and knowledge of chamber music from the 1860s to the 1880s. 263. Schumann, Robert. “Erster Quartett-Morgen: Quartette von J. Verhulst, L. Spohr und L. Fuchs,” in Neue Zeitschrift für Musik (1836) in Gesammelte Schriften, ii (Leipzig: Georg Wigland, 1854), pp. 245–50. ML 410.S4A1. Continues with 5 more quartet mornings, 251–72. Schumann has much to say about chamber music of his time, and these criticisms can serve as typical. They discuss new works— mostly string quartets—by his contemporaries. 264. Zahn, Robert von, Wolfram Ferber and Klaus Pietschmann, eds. Das Streichquartett im Rheinland: Bericht über die Tagung der Arbeitsgemeinschaft für rheinische Musikgeschichte in Brauweiler Juni 2002. In Beiträge zur rheinischen Musikgeschichte, clxvii. Kassel: Merseburger, 2005. ISBN: 3875373073. 148 pages. A wide-ranging collection of essays on string quartet composition and performances in the Rheinland during the 19th and 20th centuries. The contents include: Thomas Schmidt-Beste, “‘Vier vernünftige Leute?’

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Zur Textur in den Streichquartetten Felix Mendelssohn Bartholdys” (pages 8–29); Klaus Martin Kopitz, “Zu Norbert Burgmüller und seinen vier Streichquartetten” (pages 30–41); Thomas Synofzik, “‘Kunstreich Verwebung der Viere’: Zur Satztechnik in Robert Schumanns Streichquartett op. 41/3” (pages 42–65); Hartmut Hein, “Das Zweite Streichquartett von Hugo Kaun (1863–1932)” (pages 66–115); Klaus Wolfgang Niemöller, “Die Rheinischen Kammermusikfest (1921–25) und das Streichquartett” (pages 116–31); Wolfram Ferber, “Heinz Pauels (1908–85) Streichquartett op. 4 (UA 1932)” (pages 132–41); and Hans Elmar Bach, “Chromatik und Tonalität in Heinz Pauels Streichquartett op. 4” (pages 142–8). 265. Baldassarre, Antonio. “‘Der klarste Träger musikalischer Ideen, der je geschaffen wurde’: Untersuchungen zur Gattungsgeschichte des Streichquartetts zwischen 1830 und 1870.” PhD dissertation. Universitat Zurich, 2005. 662 pages. For the string quartet in England 1830–48 see 538. 266. Altmann, Wilhelm. “Über einige mit Unrecht vergessene Streichquartette,” in Juhlakirja Ilmari Krohn’ille 8.XI.1927 (Helsinki: Musikvetenskapliga Sällskapel i Finland, 1927), 1–5. ML 60.K95. Discusses briefly 7 string quartets by 6 obscure composers of the late 19th and early 20th centuries: Karol Bendl (1838–97), Alexander Faminzin (1841–96), Friedrich Kiels (1821–85), Friedrich Lux (1820–95), Ludwig Neuhof (1859–?1909), and Leander Schlegel (1844–1913). They deserve to be performed alongside the usual masters (includes Sgambati’s and Verdi’s quartets among the popular masterworks of the time). 267. Wilke, Rainer. Brahms, Reger, Schönberg Streichquartette: Motivischthematische Prozesse und formale Gestalt, in Schriftenreihe zur Musik, Band 18. Hamburg: Karl Dieter Wagner, 1980. HML 1736.460. ISBN 3-921-029-77-5. 233 pages. “Formale Untersuchungen an ausgewählten Streichquartetten des späten 19. und frühen 20. Jahrhunderts.” PhD dissertation. University of Hamburg. Analyzes specific movements of all 3 Brahms quartets, Schoenberg’s 1897 and Op. 7, and Reger’s Op. 74 with comments on Op. 54 and Op. 121. Defines “motive” and then studies how these 3 composers use motives and variation and build form out of them. This is very technical, with picky analyses, but the conclusion (see pages 180–91) is clear: Schoenberg started from Brahms and then went his own way by Op. 7, but there are similarities and differences in cyclic procedures among all 3 composers, and so on.

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268. Schlüter, P. Die Anfänge des modernen Streichquartetts. Bleicherode: Nieft,1939. OCLC: 72103782. 27 pages. 269. Goosens, Eugene. “The String Quartet since Brahms,” in Music and Letters, iii (1922), 335–48. Both Brahms and Tchaikovsky wrote their last string quartets in 1876. Goosens gives a list of string quartets after 1876 in Russia (Borodin, Taneiev, Glière), France (Saint-Saëns, Fauré, D’Indy, Debussy, Ravel, Chausson, and some of Les Sixes), Central Europe (Bartók, Schoenberg, Wellesz, Haba, Kodály, Dohnányi), Germany (Reger, Strauss), Italy (Pizzetti, Respighi, Casella, Malipiero, Tommasini), Scandinavia (Grieg), U.S.A. (Bloch!), and especially England (Bridge, Bax, Holbrooke, Scott, Ethel Smyth). The features that set the modern quartet off from its predecessors are chromatic harmony and a passion for color. 270. Walker, Mary Beth. “Selected Twentieth-Century String Quartets: an Approach to Understanding Style and Form.” AMD dissertation. University of Arizona, 1977. UMI 77–20621. DAI xxxviii.4A, p. 1734. 164 pages. Analysis of 4 quartets by Ravel, Bartók (No. 4), Berg (Lyric Suite), and Weber (Op. 28), in order to assist the student in listening to these works and to all 20th-century string quartets. For the string quartet in England in the 20th century see 543 and 544. 271. Finscher, Ludwig. “Monument, Miniatur und mittlerer Weg: Zur Poetik des Streichquartetts in der ersten Hälfte des 20. Jahrhunderts.” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001. Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4, ed. Beat A. Föllmi (Tutzing: Hans Schneider, 2004), 15–23. ISBN 3-7952-1114-X. Building on the tradition of the string quartets of the 19th century (Beethoven, Mendelssohn, and Brahms), composers of the first half of the 20th century wrote either monumental (i.e. large) quartets (Reger, Taneev Op. 19, Schonberg Op. 7, Zemlinsky Op. 15, etc.), miniature quartets (Webern, Stravinsky, Casella), or quartets somewhere in between (Bartók, Tippett, Krenek, Shostakovich). This third group, especially Bartók, was dependent on Beethoven’s Op. 131. Finscher draws parallels between these various quartet types and symphonies by the same composers. 272. Kube, Michael. “Innovation und Repertoire: Das Streichquartett der 1920er Jahre im Spiegel der Musikfeste.” Das Streichquartett in der

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ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4, Beat A. Föllmi, ed. (Tutzing: Hans Schneider, 2004), 141–52. ISBN 3-7952-1114-X. After World War I chamber music performances increased since the economy made operas and symphonies very expensive. Two festivals were established that encouraged the creation of new string quartets: Donaueschinger Kammermusikaufführungen zur Förderung zeitgenössicher Tonkunst (1921–7) and the International Society for New Music (1922–33). Among the quartets premiered there were several by Bartók, Hindemith, Berg, Casella, Krenek, Milhaud, Janácek, Stravinsky, Schonberg, Schulhoff, Jacobi, Walton, Mossolow, Martinú, Zemlinsky, and so on. A complete list is given. 273. Oberkogler, Wolfgang. Das Streichquartettschaffen in Wien von 1910 bis 1925, in Wiener Veröffentlichungen zur Musikwissenschaft, Band 22. Tutzing: Hans Schneider, 1982. MT 140.O23.1982. ISBN 37592-0352-X. 383 pages. Finds 3 types of quartets: conservative ones (14 composers including Felix Weingartner, Alexander Zemlinsky, Julius Bittner, Karl Weigl, Hans Gal, and Erich Korngold); those by the Schoenberg circle (Berg, Webern, Wellesz, and Pisk); and those by foreigners (Hauer and Hába). After a good introduction to the music scene in Vienna at the time, Oberkogler discusses each composer in turn. He gives important biographical information and—the main material of the book—analyzes thematic treatment and its contribution to the form of each composer’s quartets. He deals also with Skriabin, Franz Schreker, and the Verein für musikalische Privataufführungen with Rudolf Serkin, Eduard Steuermann and the Kolisch Quartet. There is an extensive bibliography, with 397 musical examples. 274. Rauchhaupt, Ursula von. Schoenberg, Berg, Webern: The String Quartets, a Documentary Study. Trl. by Eugene Hartzell. Hamburg: Deutsche Grammophon Gesellschaft, 1971. MT 140.R3. 157 pages, 21 facsimiles, 8 photos, musical examples. Original German Die Streichquartette der Wiener-Schule: Schoenberg, Berg, Webern: eine Dokumentation. Munich: H. Ellermann, 1971. Letters, reviews, and analyses by, from or to Schoenberg, Berg, and Webern concerning their string quartets. The editorial commentary is limited to 2-page preface. Documents are dated, and sources cited. All have been translated into English. Especially important are: Schoenberg’s lengthy “Notes on the Four String Quartets” (1936),

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Berg’s “Why is Schoenberg’s Music so Hard to Comprehend?” (1924), Webern’s communications with Erwin Stein (1939), and many letters among the 3 composers. 275. Jarman, Douglas. The Twentieth-Century String Quartet. Todmorden (UK): Arc Music, 2002. ISBN 1-900072564. 167 pages. Here are 8 essays on 20th-century quartets written in Germany– Austria (by Jarman), France (Caroline Potter), Central Europe (Amanda Bayley), Russia and the U.S.S.R. (Alan George), Britain (Anthony Gilbert), and America (David Nicholls), on avant-garde quartet techniques (Duncan Druce), and on recordings of some of this repertory (Tully Potter). The essays are personal rather than scholarly, though there is discussion of influences and general characterizations of styles. At the end is a selected list of quartets referred to in the book from 1885 to 1995 and a modest bibliography. The collection is an outgrowth of a large music festival in Manchester, England, in January, 2000, devoted exclusively to 20th-century string quartets, including several commissioned from young composers for the occasion. A readable book. For technical studies of string quartets see, for example, 757–758. For studies of American string quartets, see 259, 660, 661, 666, 670, 751, and 770. For the string quartet in Puerto Rico 1890–1992, see 618. 276. Seedorf, Thomas. “Benjamin Britten und das englische Streichquartett in der ersten Hälfte des 20. Jahrhunderts.” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001. Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4, ed. Beat A. Föllmi (Tutzing: Hans Schneider, 2004), 53–68. ISBN 3-7952-1114-X. Britten wrote 12 works for string quartet between 1926 and 1931. A brief discussion of English string quartets during the revival of interest in chamber music in England c.1900, thanks in large measure to Walter Willson Cobbett. Seedorf discusses Britten’s early quartets in light of this revival (especially Ralph Vaughan Williams and Frank Bridges). He includes a list of important English string quartets in the 19th century (4 obscure composers are mentioned) and in the first half of the 20th century (26 composers, most well-known). 277. Griller, Sidney. “Some Notes on the Current Status of Chamber Music,” in Music of the West Magazine, xiv (April 1959), 5. Notes the striking increase in interest in chamber music in America and abroad in the 30 years of the Griller Quartet and an upsurge in both professional and amateur quartets. Griller lists a large amount

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of new, though difficult compositions (but Beethoven’s last quartets are hard, too!). He is heartened by the music student who is the amateur player and audience of the future. 278. Stoll, Rolf W., ed. “Streichquartett.” Neue Zeitschrift für Musik, clxvii, No. 2 (March–April 2006), 12–54. An issue devoted to articles on the string quartet at the end of the 20th century. Contents include: Martin Zenck, “Lesen, betrachten, spielen: Kriterien der Streichquartettkomposition”; “‘Ich habe gelernt, nicht sofort über neue Stücke zu urteilen’” Walter Levin im Gespräch mit Michael Kunkel”; Marion Saxer: Ausharren im Paradox: Michael Reudenbachs ‘und aber, Musik für Streichquartett’”; Stefan Drees, “Abgesang auf eine Gattung: Heinz Holligers Streichquartte (1973)”; Konrad Boehmer, “Doppelter Ausbruch: Über die Streichquartette 1959 und 1987 von Gottfried Michael Koenig”; Hans-Christian von Dadelsen, “Mit Columbus in Osteuropa und Indien: die Evolution der Raum-Zeit-Koordinaten und die stille Revolution der Gattung Streichquartett”; Jörn Peter Hiekel, “Sprachfindung und Erbe: ‘ein Quadratmeter Scwärze’ von Franz Martin Olbrisch”; Matthias Henke, “‘Fern ist der Grund der Dinge … ’: Randbemerkungen zu den Streichquartetten Jörg Widmanns”; Eberhard Hüppe, “Das bewegte Streichquarett: von ‘Grido’ zu ‘Double’ (‘Grido II’)”; and “Intimität—Gleichberechtigung: über manche (vergessene) Streichquartette … Sterfan Fricke sprach mit Heinz-Klaus Metzger”. SONATA The basic historical study of sonata as a genre of chamber music is: 279. Newman, William S. The Sonata in the Baroque Era. Chapel Hill: University of North Carolina Press, 1959. Rev. ed. 1966. ML 1156. N4S6.1966. Rev. ed. paperback, New York: W.W. Norton, 1972. SBN 0-393-00622-0. xiv + 468 pages, 85 musical examples. The Sonata in the Classic Era. Chapel Hill: University of North Carolina Press, 1963. 2nd ed. New York: W.W. Norton, 1972. ML 156.N4S62.1972. SBN 0-393-00623-9. xxiii + 917 pages, 133 musical examples. The Sonata Since Beethoven. Chapel Hill: University of North Carolina Press, 1969. 2nd ed. New York: W.W. Norton, 1972. 3rd ed. 1983. ML 1156.N44.1983. ISBN 0-393-95290-8. xxvi + 870 pages, 129 musical examples. The basic comprehensive history of works called “sonata” from c.1600 to c.1750 (Vol. I), from c.1735 to c.1830 (Vol. II), and from c.1830 to c.1915 (Vol. III). The historical position of many chamber

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pieces is stated as well as works for solo keyboard and other nonchamber music genres. Newman deals with general concepts (especially the meaning of “sonata” and the uses of the sonata), with sociological, stylistic, and conceptual issues, and with specific composers grouped by nationality and date. Countries include not only the mainstream ones (Italy, France, Germany, Austria, England) but also the ones often neglected (Holland, Denmark, Sweden, Bohemia, Poland, Switzerland, Russia, Iberia, the Americas). Ensemble sonatas are treated about equally with solo (keyboard) sonatas. This work is scholarly and well documented, with huge bibliographies of books, articles, and scores. 280. Borrel, Eugène. La Sonate. Paris: Larousse, 1951. ML 1156.B7. 153 pages. In French. An intelligent, comprehensive history of sonatas from the end of the 16th century to the 20th century. Borrel considers the uses of the term and “sonatas” that are not so designated. He concentrates on the 17th century and first half of the 20th. His thoughts and historical points make this study an important second reader after Newman’s books. It includes a sizable bibliography of sonatas arranged chronologically, by scoring, by nationality (usually), and finally alphabetically by composer. 281. Bughici, Dumitru. Suita si Sonata. Bucharest: Editura Muzicala, 1965. ML 1158.B83. 342 pages. In Romanian. Intense discussion of the chamber suite but limited to Bach and Rameau. The modern suite is orchestral. Sonata includes all solo and ensemble sonatas, the form as well as the genre. 282. Selva, Blanche. Quelques Mots sur la Sonate (Évolution du Genre). Paris: Paul Delaplane, 1914. ML 1156.S35. 225 pages. In French. A fanciful, out-dated history and discussion of sonatas, which should be avoided by the audience for which it was intended: amateurs, professional performers, and students. It could be of some value for scholars who need to document French Germanophobia and lack of standards in chamber music c.1900. On the other hand, the brief 2page forward by Paul Landormy presents a thought-provoking exposé of the contradictions and other weaknesses inherent in any choice of methodology for a musical history such as that of the sonata. For example, a chronological approach obscures development of specific genres, while a generic approach obscures history; a generic approach also obscures the unique contribution of individuals or that of schools, but to deal with exceptional persons or schools obscures the species in its normal occurrences.

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The term “sonata” has other meanings besides chamber music. Sometimes it refers to a form. In many discussions of sonata, the confusion in terminology is so severe as to render the studies useless. Yet in some other such cases (Nohl 684, Riemann 296) there is some value to the studies. The types of chamber music called “sonata” undergo changes from the beginning of the 17th century to the present. One issue is to define sonata in the 17th century— an instrumental piece for an ensemble—and to trace its origins. 283. Crocker, Eunice Chandler. “An Introductory Study of the Italian Canzona for Instrumental Ensembles and its Influence upon the Baroque Sonata.” PhD dissertation. Radcliffe College, 1943. DD x (1943), p. 88. vi + 497 pages + 43 pages of music + [66] pages + [60] pages of music. A detailed consideration of these instrumental ensembles at the important moment when they became sonatas. There are careful definitions, a review of pre-canzona vocal types in the 16th century, and then a review of the canzona in 2 epochs: 1572–1608 and 1608– 21. She studies the problem of nomenclature and the distinction between “sonata style” and “canzona style” (they are contrasted in terms of melody—the canzona is more limited; rhythm—the canzona is much more regular; texture—the canzona is imitative and the sonata top dominated; medium—the canzona is not in any precise medium while sonata is written to show off the instrument). Finally, Crocker gives a review of the sonata and canzona after 1621. The canzona was thoroughly established in the 16th century and it is that type of canzona that is regarded as canzona-style after 1608. See 1088 for a discussion of Bertali’s large-scale sonatas. 284. Dell’Antonio, Andrea. Syntax, Form and Genre in Sonatas and Canzonas, 1621–1635. Luca: Libreria musicale italiana, 1997. ISBN 8-8709-6182-6. ML1156.D45.1997. University of California, Berkeley, dissertation, 1991. 308 pages. In concentrating on 4 collections published between 1621 and 1635, Dell’Antonio discerns as clearly as possible the differences at this time between sonata and canzona a2–3 with continuo and how the 2 evolved in terms of microcosmic elements (syntax) and macrocosmic elements (form). The author discusses very well the nature of “genre” and terminology in trying to understand what “sonata” and “canzona” mean. A separate chapter is devoted each to Dario Castello’s Sonate Concertate I (1621), Giovanni Picchi’s Canzoni da Sonar (1625), Giuseppe Scarani’s Sonate Concertate (1630), and Frescobaldi’s Canzoni da Sonar (1635). Each chapter contains detailed charts listing basic characteristics of the pieces contained within the whole collection and theoretical analyses of some of the compositions.

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For discussion of the canzonas of Frescobaldi see 1438. 285. Bonta, Stephen. “The Church Sonatas of Giovanni Legrenzi.” PhD dissertation. Harvard University, 1964. 2 vols. x + 638 pages. Vol. II contains documents and musical examples. After an extensive biography of Legrenzi, primarily in Ferrara and Venice, a penetrating study of the church sonata in the 17th century beginning with its liturgical function. It goes into the instruments used for such sonatas, especially in Legrenzi’s case, and then studies performance practice. Church sonatas in the church were probably orchestral, but the same sonata performed in a chamber would be solistic. Therefore this optional situation is part of Legrenzi’s style and probably affects all church sonatas of the 17th century. Bonta offers a detailed analysis of the sonatas including sources, forms, harmony, and thematic treatment. See also Bonta’s “The Uses of the Sonata da Chiesa,” in Journal of the American Musicological Society, xxii (1969), 54–84, which is an exhaustive study of the liturgical position of the sonata da chiesa in Masses and Vespers in the 17th century. An important clarification of early terminology appears in the following: 286. Daverio, John. “In Search of the Sonata da Camera before Corelli,” in Acta Musicologica, lvii (1985), 195–214. An important scholarly discussion of the Austro-German ensemble suite and its interaction with the Italian sonata idea. The “sonata” idea comes into its own in the 1630s “to replace canzona as the most popular term for abstract, multi-sectional ensemble works.” “Sonata” meant sonata da chiesa, and in Italy sonata da camera “refers primarily to the single dance, and not to the dance group” before Corelli’s Op. 2 extended it to a group of dances—the suite. Corelli got his idea from Georg Muffat, who is a representative of the Austro-German school; the Austro-Germans, in turn, got this idea from England. Muffat was a younger colleague in Salzburg of Heinrich Biber and in the early 1680s worked with Corelli in Rome. Muffat’s Armonico Tributo (Salzburg: 1682), a set of 5 sonatas for 2 violins + 2 optional violas + violone + basso continuo probably composed in Rome and later partially republished as concerti in Auserlesene … Instrumentalmusic (Passau: 1701), are basically Austro-German suites and were specifically performed for Corelli by Muffat. This counters the oftheld view that all new ideas in Baroque instrumental music came from Italy; Corelli seems clearly to have copied Muffat. Daverio includes 4 tables to support the argument: a list of Italian dance and sonata (da camera) publications 1645–84, contents of G.M. Bononcini’s

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Sonate da Camera, e da Ballo, Op.2 (1667), overall titles for dance groups in pre-Corellian Italian publications, and movement disposition in the sonatas of Muffat’s Armonico Tributo. This article is an outgrowth of Daverio’s dissertation “Formal Design and Terminology in the Pre-Corellian ‘Sonata’ and Related Instrumental Forms in the Printed Sources.” Boston University, 1983. UMI DA8319967. DAI xliv.5A, p. 1234. 322 pages. 287. Schlossberg, Artur. Die italienische Sonata für mehrere Instrumente im 17. Jahrhundert. Np.: n.p., 1932. 107 pages. Originally “Die mehrstimmige Spielmusik des 17. Jahrhunderts in Italian.” PhD dissertation. University of Heidelberg, 1932. A detailed scholarly account of the development of the polyphonic canzona into the polyphonic sonata from c.1600 to c.1680. 288. Sehnal, J. “Zur Differenzierung der sonata da chiesa und sonata da camera in der zweiten Hälfte des 17. Jahrhunderts,” in Musica cameralis (Brno VI: 1971), 303–10. 289. Allorto, Riccardo. “La sonata a uno e piú strumenti in Italia: spunti critici,” in Musiche italiane rare e vive da Giovanni Gabrieli a Giuseppe Verdi, eds Adelmo Damerini and Gino Roncaglia (Sienna: Accademia Musicale Chigiana, 1962), 45–57. ML290.D29. A plea for scholars to recognize the pre-Corelli Italian sonatas (primarily trio-sonatas) for their own sakes and not to put them in the shadow of Corelli’s sonatas. Corelli’s influence was immense on succeeding generations, but his Italian forebears need to be recognized for their contributions, too. 290. Allsop, Peter. “Secular Influences on the Bolognese sonata da chiesa,” in Proceedings of the Royal Music Association, civ (1977–8), 89–100. Points out that secular ensemble compositions (sonate da camera) in Bologna during and after Cazzati’s service at San Petronio far outnumber sacred ensemble compositions (sonate da chiesa) despite the dominance of the church and conservative university there. Allsop shows where chamber music was performed at the homes of the leading citizens and nobility, which is why there was so much secular music. The church sonata itself was influenced by the secular sonata with the incorporation of binary dances (balletti) and opera arias alongside the more “learned” style traditionally found in the church works. Allsop distinguishes between the conservative sonatas a3 (3 melodic lines, with 1 a bass line) and the new sonatas a2 (2 trebles with continuo).

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291. Barnett, Gregory. “Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century,” in Journal of the American Musicological Society, li (1998), 245–81. Shows how concepts of modal theory, translated into the 8 psalm tones of the Catholic Church (church keys), influenced the writers of chamber sonatas during the late 17th century. Barnett relates the theory of the time to the actual practice. 292. Klauwell, Otto. Geschichte der Sonata von ihren Anfängen bis zur Gegenwart. Köln/Leipzig: H. vom Ende, 1899. ML 1156.K63. iii + 128 pages. Here are 4 essays, of which only the first, on the old Italian sonata from G. Gabrieli to A. Corelli, is relevant. A dated book to be avoided by the uninitiated but of use to scholars as a reflexion on the state of musicological knowledge c.1900. The primary interest is in solo keyboard sonatas. Klauwell traces the origins of the Italian sonata to vocal music in the 16th century and to dance music. He credits Gabrieli with the first independent sonata. Sonata (Speer, M. Praetorius) is heavier than canzona, but eventually there was no distinction (Massimiliano Neri and Giov. Legrenzi). 293. Zingler, Ute. “Studien zur Entwicklung der italienischen Violoncellsonate von den Anfängen bis zur Mitte des 18. Jahrhunderts.” Inaugural dissertation. Frankfurt a/M, 1967. RILM 70–1790. iii + 248 pages. Zingler traces first the probable origins of the modern cello to the mid-16th century and then the cello sonata from c.1689 when the first ones appeared in Bologna with Domenico Gabrielli (1659–90), who taught Legrenzi composition, to the mid-18th century with Francesco Saverio Geminiani (1687–1762), Andrea Caporale (d.1756), and Pasqualino de Marzis (fl.1740s). He presents collections historically, chronologically, and with analysis of representative pieces. The sonatas are homogeneous, with continuo accompaniment. After c.1750 the cello sonatas become virtuoso pieces or obligato keyboard pieces. The earliest examples still show canzone features—frequent change of tempo in a single movement. But mostly all these sonatas are slow-fast-slow-fast or in 3 movements, with nascent sonata form not yet present in the fast second movements, except in rare cases. Until 1720 the emphasis was on the slow movements, especially the third movement, but the emphasis then switched to the faster movements, especially when it was the second movement. See 2600 for more on early violoncello sonatas.

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294. Schünemann, Georg. “Sonaten und Feldstücke der Hoftrompeter,” in Zeitschrift für Musikwissenschaft, xvii (1935), 147–70. Description of manuscript books owned by Hendrich Lübeck and Magnus Thomsen, both German trumpeters at the turn of the 17th century, who served the Danish court. It contains 483 sonatas, each usually in 6 to 8 sections. Composers are rarely named; some pieces are folk tunes or dances, apparently unaccompanied. For another discussion of the early sonata, see Langley’s “Sonate concertate in stil moderno by Dario Castello: a Transcription of Book One” 1268. The trio sonata, “invented” by Salomone Rossi, became the dominant type of ensemble sonata in the 17th and early 18th centuries. 295. Apfel, Ernst. “Zur Vorgeschichte der Triosonate,” in Die Musikforschung, xviii (1965), 33–6. The early trio sonata is either dance-like or church-like (with fugal fast movements). The former derive either from bicenium or dance-like arrangements of vocal polyphony of the 16th century. 296. Riemann, Hugo. “Die Triosonaten der Generalbass-Epoche” (originally 1897), in Präludien und Studien: Gesammelte Aufsätze zur Aesthetik, Theorie und Geschichte der Musik (Leipzig: 1904; rep. Hildesheim: Georg Olm, 1967), iii, 129–56. ML 60.R56.1967. The source for many early-20th-century misconceptions about the early sonata. Its inaccuracies have been corrected over the past 90 years. Much of what Riemann considers sonatas are orchestral pieces. He claims the trio sonata is the source for the string quartet and the German orchestral suite the source for the sonata da camera (the latter is now accepted; see 286). 297. Jensen, Niels Martin. “Solo Sonata, Duo Sonata and Trio Sonata: Some Problems of Terminology and Genre in 17th-Century Italian Instrumental Music,” trl. from Danish by John Bergsagel, in Festskrift Jens Peter Larsen 1902 14.VI 1972 (Copenhagen: Wilhelm Hansen Musik-Forlag, 1972), 73–101. ML 55.L215.1972. ISBN 87-7455-000-4. Challenges the use of 18th-century terminology for 17th-century violin + bass compositions and Riemann’s and Newman’s assumption that these works are instrumental monodies. These misconceptions obscure the evolutionary point of view; the early-17th-century sonatas were not parallel to monodies but had their own development from 16th-century types to 18th-century types. The 17thcentury terminology is consistent: it is determined by the number of melody instruments (violin + continuo or bass + continuo = sonata a

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une; 2 violins + continuo or 2 basses + continuo or violin + bass + continuo = sonata a due; 3 violins + continuo or 2 violins + bass + continuo or violin + 2 basses + continuo or 3 basses + continuo = sonata a tre). Jensen challenges the concept of polarity between melody instrument(s) and continuo: melody lines are contrapuntal, homophonic or concertizing lines continuing in the 16th-century polyphonic tradition, with continuo merely an accompaniment. He cites collections by G.P. Cima, Giulio Belli, and Corelli. This is concise, clearly written, well documented, and of interest to students, scholars, and performers. 298. Allsop, Peter. The Italian “Trio” Sonata: from its Origins until Corelli. Oxford: Clarendon Press/New York : Oxford University Press, 1992. ML 1156.A44I8.1992. ISBN 0-1981-6229-4. ix + 334 pages. A thorough discussion of the Italian sonatas, casually identified as “trio sonatas,” until 1681; this should be read in conjunction with Apel’s bibliographical studies of the same repertory. After an excellent background exposé of where, when, what, by whom and why the sonatas were written and performed, Allsop delves into nearly all the specific surviving collections of sonatas based on the regions of Italy where they appeared. By covering nearly the whole repertory, he is able to make generalizations about the development of the sonata up to Corelli, based on fact, not on fiction (as is the case with earlier, only partially authenticated studies). 299. Hogwood, Christopher. The Trio Sonata, in BBC Music Guides. London: British Broadcasting Corporation, 1979. HML 279.56. ISBN 0-563-17095-6. 128 pages. Designed for laypersons who read music, yet not written concisely enough for such an audience; some matters are of concern to the scholar, but most are not. He treats the highlights of Italian trio sonatas of the 17th and 18th centuries and the ground bass patterns used in some of them. Hogwood explains the difference between 3part consort music and trio sonatas, and dwells on the many options in realization of the bass part. But the basic scoring is 2 violins + cello + keyboard. He covers a lot of territory but in crotchety, verbose language heavily influenced by Burney. He also treats the trio sonata separately in Germany-Austria, England, and France. See also Jiri Sehnal in 675, pages 303–10 on the distinction between da chiesa and da camera in the second half of the 17th century. 300. Mangsen, Sandra. “The Dissemination of Pre-Corellian Duo and Trio Sonatas in Manuscript and Printed Sources: a Preliminary Report,”

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in The Dissemination of Music, ed. Hans Lenneberg (New York: Gordon and Breach, 1994), 71–105. A description and analysis of the printed and manuscript sources of Italian duo and trio sonatas from 1600 to 1675, considering which composers are most represented, what chronological or geographical biases there might be, what stylistic traits are most prevalent, and whether or not there are concordances. There are numerous charts and abundant footnotes. The study helps us understand the context of Corelli’s works and the reception of pre-Corellian sonatas throughout Europe, and gives historical meaning to the vast bibliography in Apel’s lists. 301. Lepore, Angela. “La Sonata a tre in Ambito Corelliano,” in Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695–1764), ed. Albert Dunning (Lucca: Libreria Musicale Italiana, 1995), 527–99. Lepore defines, discusses, and lists the composers of the sonata a3 in Italy during the late 17th and early 18th centuries. 302. Brockhoff, Maria-Elisabeth. “Studien zur Struktur der italienischen und deutschen Triosonate im 17. Jahrhundert.” Inaugural dissertation. Wilhelms University of Münster, 1944. HML Film 3237.63.1. vi + 130 pages. Discusses the trio sonata from its beginnings to 4 distinctive late 17th-century composers: Legrenzi and Corelli in Italy and Matthias Weckmann and Buxtehude in Germany. The beginnings in Italy go back to 16th-century vocal polyphony and to the Gabrielis (orchestral canzone) and S. Rossi. In Germany, the Gabrieli orchestral canzona continues longer than in Italy with Schein, Rosenmüller, Peuerl, and others, and with the English violinists and composers (especially William Brade). Eventually, native Germans, such as Caspar Förster, write trio sonatas. The Italians have a chain structure, movement to movement; the Germans have a ring structure (the end of the final movement leads back to the opening of the first). See 61 for an inventory of 17th-century trio sonatas. 303. Schenk, Erich. Die italienische Triosonate, in Das Musikwerk, Heft 7. Köln: Arno Volk, 1955. The Italian Trio Sonata, in Anthology of Music, Vol. 7. Köln: Arno Volk, 1955. M 2.M94512 No.7. 75 pages. Basically a fine edition in score of 6 trio sonatas by Giovanni Paolo Cima (1610), Francesco Turini (1621), Giovanni Maria Bononcini (1672), Antonio Caldara (1693), Francesco Antonio Bonporti (1703), and Gaetano Pugnani (1754). The introduction provides a history of

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the Italian trio sonata from c.1607 (Salomone Rossi) to c.1775 (F. Guerrini). The English is a bit stilted and in some cases confusing, which limits its usefulness for the non-scholarly performers, who are most likely to want to read it. Schenk gives a chronological discussion with a large amount of information conveyed in just a few pages. No attempt is made to show how the mid-18th-century trio sonata developed into new classical chamber music types. Sizable bibliographies of modern editions and secondary literature. For performance questions on the Corelli trio sonata, see 2478. 304. Schenk, Erich, ed. Die ausseritalienische Triosonate, in Das Musikwerk, Heft 35. Köln: Arno Volk, 1970. The Trio Sonata outside Italy, trl. by Robert Kolben, in Anthology of Music, Vol. 35. Köln: Arno Volk, 1970. M 2.M94512 No.35. 84 pages. As in 303, primarily a fine edition of 9 pieces for 3 instruments or trio sonatas by Joh. Stadlmayr, J.E. Kindermann, J.H. Schmelzer, Dietrich Becker, Marin Marais, John Ravenscroft, M.S. Biechteler, Joh. Gottlieb Graun, and Georg Christoph Wagenseil. There is an historical introduction, arranged chronologically, with nationalities treated separately. The work shows a strong Italian influence everywhere, but some northern customs (such as the German preference for 5 or 6 lines rather than 3) affect the development of the northern sonata. Schenk gives extensive bibliographies of reprints and secondary literature. A different interpretation of these works is offered in 286. 305. Hoffmann, Hans. Die norddeutsche Triosonate des Kreises um Johann Gottlieb Graun und Carl Philipp Emanuel Bach. Kiel: W.G. Mühlau, 1927. ML 1129.H7. 188 pages. PhD dissertation. Kiel, 1924. Seeks the essence of the term “trio sonata” and the style of instrumental music of the Berlin circle of the mid-18th century. Hoffmann studies form, means of expression, and performance practice in the trio sonatas of Graun and C.P.E. Bach as examples of the Berlin style and trio sonata concept. He includes a history of the trio sonata of the 17th and 18th centuries in general, which can still form a basis for newer research. He also discusses J.S. Bach’s trio sonatas: mostly 3-movement trios (slow-fast-fast or fast-slow-fast) but also some in 4 movements (da chiesa). Expression is tied to melody and rhythm. Hoffmann reviews theorists of the time: Scheibe, Riedt, and Nichelmann. The Berlin trio sonata stands between 2 epochs, and the departure of C.P. E. Bach in 1767 signals his need to enter the new period. See Marysue Barnes’s dissertation “The Trio Sonatas of Antonio Caldara” 1240 for an historical summary of the evolution of the trio sonata.

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The English had their own variety. 306. Johnson, Jane Troy. “The English Fantasia-Suite, ca.1620–60.” PhD dissertation. University of California at Berkeley, 1971. RILM 71–45. 526 pages. Studies 136 fantasia suites by major English composers of the mid17th century (Giovanni Coperario, William Lawes, John Jenkins, John Hingston, John Birchensha, Christopher Gibbons, Christopher Simpson, and various anonymous composers). Preserved only in manuscript, each suite consists of 3 movements: fantasia-almainegalliard (Lawes expanded it to 4 movements). They are scored for 1 or 2 violins, bass viol, and written-out continuo (a few late ones add a third or fourth violin). Johnson analyzes the continuo parts, texture, and form. These suites are historically important as “England’s manifestation of the ‘sonata’ idea.” The solo sonata is also important. The best general descriptions and study of the solo violin sonata in the 17th century are: 307. Apel, Willi. “Studien über die frühe Violinmusik,” in Archiv für Musikwissenschaft, xxx (1973), 153–74; xxxi (1974), 185–213; xxxii (1975), 272–97; xxxiii (1976), 213–39; xxxiv (1977), 117–47; xxxv (1978), 104–34; xxxvi (1979), 183–213; xxxvii (1980), 206–35; xxxviii (1981), 110–41. The most important study of early Italian violin chamber music 1580–1700. Thoroughly documented analyses of each printed source are presented chronologically. Segment I: 1582–1621; subsequent segments are divided by decade. An index of composers is given in segment IX. 308. Die italienische Violinmusik im 17. Jahrhundert, in Beihefte zum Archiv für Musikwissenschaft, Vol. 21. Wiesbaden: Franz Steiner, 1983. ML 5.A63 Suppl. Bd.2. ISBN 3-515-03786-1. ix + 244 pages. English trl., enl. ed. Thomas Binkley, Italian Violin Music of the Seventeenth Century. Bloomington (IN): Indiana University Press, 1990. ISBN: 0-253-30683-3. ML880.2.A6313.1990. ix + 306 pages. Drawing on his 9 articles “Studien … ” 307, Apel reorganizes the material; instead of the chronological order of sources, he deals with 1 composer at a time. He includes corrections and adds an opening essay on the earliest pieces for the violin. See also Thomas Dunn’s “The Sonatas of Biagio Marini” 1772. 309. Mishkin, Henry G. “The Solo Violin Sonata of the Bologna School,” in The Musical Quarterly, xxix (1943), 92–112.

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A scholarly study of the violinists and the violin sonatas of the Bologna school from 1670 to 1703, which includes Giuseppe Torelli, G.B. Vitali, and lesser ones. It includes also a list of solo violin sonatas published in Italy before 1670. The most illuminating violinist is Maurizio Cazzati, whose published sonatas of 1670 begin the Bologna school. Other solo instruments in the 17th and early 18th centuries are treated in the following: 310. Tennyson, Robert Scott. “Five Anonymous Seventeenth-Century Chamber Works with Trombone Parts, from the Castle Archives of Kromeriz.” DMA dissertation. University of Maryland, 1973. UM 73–28906. DAI xxxiv.6A, p. 3459. 142 pages. A scholarly edition of 4 sonatas and 1 suite, preceded by an historical and critical introduction. Tennyson notes that 2 of the pieces date from 1667 when Heinrich Biber was Capellmeister in Kromeriz. All 5 works are scored for at least 3 trombones and organ continuo; some have clarino parts and strings (solo or orchestral?). The sonatas are in subdivided single movements with antiphonal choirs of sound; the suite dances are in binary form. 311. Winkler,Klaus. Selbstständige Instrumentalwerke mit Posaune in Oberitalien von 1590 bis 1650: ein Beitrag zur Frühgeschichte der Instrumentalsonate. Tutzing: Hans Schneider, 1985. ML968.W55.1985. ISBN 3-7952-0438-0. 319 pages. A thorough study of the sources of ensemble music including the trombone from the multi-voiced canzonas and sonatas of Giovanni Gabrieli to the solo and trio works of Lodovico Viadana, Giovanni Paolo Cima, Giulio Belli, Amante Franzoni, and others. Special attention is given to the life and work of Dano Castello (born c.1600, death date unknown) and to the place that trombone chamber music had in North Italy. 312. Anderson, Stephen Charles. “Selected Works from the Seventeenth Century Music Collection of Prince-Bishop Karl LiechtensteinKastelkorn: a Study of the Soloistic Use of the Trombone and Modern Editions.” DMA dissertation. The University of Oklahoma, 1977. DAI xxxviii.4A, pp.1722–3. 315 pages. Modern edition of 12 pieces, some entitled “sonata,” others with religious titles, by Giacomo Francesco Libertini, Philipp Jakob Rittler, Johann Heinrich Schmelzer(?), and Pavel Josef Vejvanovsky. This is an historical analysis of these trombone pieces in which the solo trombone is treated on an equal basis with other common solo instruments such as violin, clarino, cornetto, and bassoon.

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313. Klitz, Brian Kent. “Solo Sonatas, Trio Sonatas, and Duos for Bassoon before 1750.” PhD dissertation. University of North Carolina, 1961. UM 61–6125. DA xxii.6, p. 2024. iv + 151 pages + 66 music pages. Lists 159 such sonatas and analyzes representative examples, especially by Bertoli (1645). Klitz stresses the Italian origins and development of bassoon sonatas. See Loren Bartlett’s “A Survey and Checklist of Representative EighteenthCentury Concertos and Sonatas for Bassoon” 88. 314. Smithers, Don. “Seventeenth-Century English Trumpet Music,” in Music and Letters, xlviii (1967), 358–65. Description of 10 trumpet sonatas of the 17th century found in British Museum (British Library) Music Ms. Add. 49,599, the largest English collection of trumpet sonatas of the time. This article is concerned with trumpet technique as revealed in the manuscript. 315. McGowan, Richard Allen. “Italian Baroque Solo Sonatas for the Recorder and the Flute.” PhD dissertation. The University of Michigan, 1974. UMI 75–756. DAI xxxv.7A, p. 4594. 530 pages. Historical analysis of recorder sonatas c.1710–50 that shows parallels with historical analysis of violin sonatas of the same period: 3 movements gradually replace 4, single movements become more fully-developed, contrapuntal styles are replaced by treble-dominated homophonic dances, the minuet replaces the gigue as the finale, and flute techniques change with the transverse gradually replacing the recorder. [Careless use of terminology in the abstract suggests problems in the full dissertation.] 316. Herbert, Ilse L. “Tipuri de Sonata de Camera din Secolul al Xviii-lea Privite din Punct de Vedere al Ansamblului Executant,” in Lucrari de Muzicologie, ii (1966), 63–8. French, Russian, and German summaries. There are 3 types of instrumental ensemble performing sonatas in the (mid-)18th century: sonatas with continuo (the continuo line performed either by a harpsichord or by a deep melody instrument, rarely by both together), sonatas with concertant harpsichord (derives from trio sonatas), and sonatas for harpsichord accompanied by other instruments. In the mid and later 18th century a major topic is the evolution of the trio sonata into the accompanied keyboard sonata. 317. Sheldon, David Alden. “The Transition from Trio to CembaloObbligato Sonata in the Works of J.G. and C.H. Graun,” in The Journal of the American Musicological Society, xxiv (1971), 395–413.

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Explains a large collection of sonatas in Berlin that exist in 2 formats: 1) as flute and/or violin trio sonatas, and 2) as accompanied obligato sonatas in which one of the flute and/or violin parts is rescored for the right hand of the obligato keyboard. 318. Newman, William S. “Concerning the Accompanied Clavier Sonata,” in The Musical Quarterly, xxxiii (1947), 327–49. Recognizes the importance of this genre in 18th- and early 19thcentury chamber music for its bulk, its position as transition from Baroque to Classical sonata, and the gradual demise of the basso continuo. It is primarily concerned with the textural problem: why the violin-dominated Baroque sonata would give way to the sonata with violin accompaniment of the Classical era. The changing role of the violin is largely due to the keyboard’s rise as a solo instrument. 319. Fuller, David. “Accompanied Keyboard Music,” in The Musical Quarterly, lx (1974), 222–45. A scholarly study carrying Newman 318 to greater depth, based on the huge musical repertory and on contemporary reports. Despite ambiguity in terminology in the 18th century, all this music should be considered together as “chamber music with obbligato keyboard.” The continuo accompaniment did not develop into the obligato; rather the obligato keyboard replaced the continuo. The Baroque keyboard in concerted music was subordinated to the other instruments, whereas the Classical keyboard was an equal partner or more. The 2 existed side by side during most of the 18th century. 320. Kidd, Ronald R. “The Emergence of Chamber Music with Obligato Keyboard in England,” in Acta Musicologica, xliv (1972), 122–44. Based on “The Sonata for Keyboard with Violin Accompaniment in England (1750–90).” PhD dissertation. Yale University, 1968. UMI 68–11199. DAI xxix.2A, pp. 626–7. 543 pages. Although Newman has already covered this topic, the author has 2 additional historical points to make with detailed documentation: 1) there is no “‘progress’ from an early optionally-accompanied style to the fully developed concertante sonata of Mozart and Beethoven”; they co-existed. 2) The English accompanied sonata, like the French sonatas of Schobert, absorbed features from more elaborate Italian concertos. The accompanied keyboard sonata flourished equally in France and England. Among English composers are Charles Avison, Thomas Gladwin, and William Jackson. 321. Studeny, Bruno. Beiträge zur Geschichte der Violinsonate im 18. Jahrhundert. Munich: Wunderhorn, 1911. Reduction of University of Munich PhD dissertation. ML 895.S8. 120 pages. In German.

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A dated scholarly study under the influence of Spitta, Wasielewski, Kretzschmar, Schering, and Sandberger. Studeny asserts that the later violin-piano sonata grows out of the J.S. Bach trio sonata and accompanied solo sonata; he draws attention to the Dresden school of violinists (Pisendel in particular) before 1750 and to the Berlin and Mannheim schools after the middle of the century. His most important conclusion is that the homophonic style of South Germany mixes with the polyphonic style of North Germany in producing first Mozart’s and Haydn’s sonatas, then Beethoven’s. See also the articles and books on J.S. Bach in Chapter III. The French development gets special attention. 322. La Laurencie, Lionel de. L’École Française de Violon de Lully à Viotti: Études d’Histoire et d’Esthéique. 3 vols. Paris: Librairie Delagrave, 1922–4. ML 874.L15. I: 440 pages, 28 reproductions, examples. II: iii + 516 pages, 44 reproductions, examples. III: iv + 319 pages, 15 reproductions, examples. In French. An exhaustive, scholarly study of French sonatas of the 17th and 18th centuries, which, despite its date, will continue as a principal starting point for any further study of French sonatas and chamber music for the foreseeable future. While the book is oriented toward the violin itself, the material presented is almost entirely relevant to chamber music. It contains a discussion of specific performers, of categories of sonatas, and of specific compositions. It is chronologically presented, from Lully to Viotti, with a chapter summarizing the evolution of the French school, its compositions, and criticism. The work contains: detailed biographies, well documented with some documents quoted in full; artistic evaluation by contemporaries and others; lists of works; overall discussion of the works with detailed quotations and supporting evidence (not a piece by piece, movement by movement description). It is summarized in La Laurencie, “La Sonate de Clavecin et Violon en France,” in Le Courrier Musical, xxv, No. 7 (April 1, 1923), 119–20. 323. Beckmann, Gisela. Die französische Violinsonate mit Basso Continuo von Jean-Marie Leclair bis Pierre Gaviniés, in Hamburger Beiträge zur Musikwissenschaft, Band 15. Hamburg: Karl Dieter Wagner, 1975. ML 874.B39. ISBN 3-921029-27-9. 353 pages. Originally “Die französische Violinsonate mit Basso Continuo von Jean-Marie Leclair bis Pierre Gaviniès.” Ph.D. dissertation. University of Hamburg, 1973. Valuable for its background information on French musical life in the second half of the 18th century, which is gleaned primarily from

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French music periodicals of the time: Mercure de France (1724f.), Journal de Musique (1773f.), Almanach des Spectacles (1752f.), and Almanach Musical (1775f.). Beckmann discusses a large repertory of violin sonatas by 22 French violinists (1720–69). The work contains: brief biographies; a survey of relevant works listing key, movements, forms, tonalities, and meters; and analyses of form, thematic character, development, bass treatment, harmony, and violin technique. There is also a brief exposé of intervals and ornaments by Mondonville. 324. Doflein, Erich. “Violinsonaten aus Paris aus den Jahren 1770–85,” in Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz (Vienna: Universal Edition, 1975), 20–6. A brief introduction to the Paris school of violin compositions that later had a major impact on Beethoven and the violinist-composers of the turn of the next century. After brief accounts of Mondonville and Schobert, who come before 1770, Doflein talks about the sonatas of Simon Le Duc, Nicolas-Joseph Hüllmandel, and J.P. Guénin. 325. Reeser, Eduard. De Klaviersonate met Vioolbegeleiding in het Parÿsche Muziekleven ten Tÿde van Mozart. Rotterdam: W.L. & J. Brusse’s Uitgeversmaatschappÿ N.V., 1939. ML 805.R43. Originally Rÿksuniversiteit (Utrecht) PhD dissertation. I: 178 pages (history); II: 102 pages (12 complete sonatas for piano and violin). In Dutch. Summary in French and German. An important scholarly study of the French sonata for keyboard and violin accompaniment at the time of Mozart’s visits to Paris (1763–78). There is background information on French taste, musical institutions (concerts and publishers—there were 23 music publishers in Paris in 1775!), and performers. Reeser emphasizes the keyboard-violin sonatas from Mondonville to Nikolaus Joseph Hüllmandel. There is general basic information as well as specific, chronological study of the principal composers and their music (some works analyzed in detail). The author considers the changing relationship between violin and keyboard, the forms moving from binary to sonata, and the dichotomy after 1780 between the rare violon obligé and the usual violon ad libitum. He notes that, in the customary 3-movement scheme, fast-slow-fast, the fast movements are Italianate, the slow French. There is an extensive bibliography. The obligato keyboard sonata developed in Germany, too. 326. Wierichs, Alfred. Die Sonate für obligates Tasteninstrument und Violine bis zum Beginn der Hochklassik in Deutschland. Kassel: Bärenreiter,

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1981. ML 1156.W54. ISBN 3-7618-0672-8. vii + 220 pages + xxvi pages. PhD dissertation. University of Münster, 1981. xxxii + 220 pages. Concentrates on the German manifestations of this crucial problem of the combination of a melody and a keyboard instrument in sonatas. Initially, 49 composers are considered in turn and then 12 composers during the 1770s or final phase. The developments occur in north-east Germany. This is scholarly, well written, and carefully documented. A number of the composers were not treated by Newman, and a number of the works discussed have not been treated by anyone until now. Wierichs points to the origins of the keyboardaccompanied violin sonata in the Baroque trio sonata (already stated by Mersmann in 1920) and in the principle of concertizing. 327. Fischer, Wilhelm. “Mozarts Weg von der begleiteten Klaviersonate zur Kammermusik mit Klavier,” in Mozart-Jahrbuch (1956), 16–34. Since dilettantes were among the performers of the accompanied keyboard sonata, composers purposely wrote parts easy enough for dilettantes to play. During a 15-year period, Mozart took the sonata from here—accompanied keyboard—to real violin + piano sonatas as well as to real piano + violin + cello trios. This is the basic scholarly study of this phenomenon, well documented, and clearly written. Fischer proves his point by citing titles of collections and by analysis of the music. For another study of Mozart’s violin-piano sonatas, see 1901. Sonatas of the 18th century were written for other instruments besides the violin. 328. Shaw, Gertrude Jean. “The Violincello Sonata Literature in France during the Eighteenth Century.” PhD dissertation. Catholic University, 1963. UM 63–6559. DA xxiv.2, p. 771. 346 (DA = 371) pages. Lists this repertory (with modern editions) and analyzes its significance to the cello sonata repertory as a whole. Most such sonatas were written by virtuoso cellists, not general composers. They show nascent sonata form and solistic features of the instrument. An important development in the mid-18th century was the preference for flute over recorder in sonatas. See Buyse 1124 and: 329. Du Bois, Elizabeth Ann. A Comparison of Georg Philipp Telemann’s Use of the Recorder and the Transverse Flute as Seen in his Chamber Works, in The Emporia State Research Studies, xxx, No. 3. Emporia (KS): Emporia State University, 1982. ML 410.T26D8.1982. 72 pages.

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Telemann is an ideal composer for this question because he lived during the period of transition, he wrote an enormous amount of flute-recorder music, and he was immensely popular. This is a substantial biography and a detailed history of the 2 instruments in the 17th and particularly 18th century (many illustrations). The author gives an assessment of Telemann’s music for the 2 instruments and a detailed study of 3 pieces. Each instrument has preferred keys and differences in timbre, technique, dynamics, range, and social status. There is a large bibliography. 330. Titus, Robert Austin. “The Solo Music for the Clarinet in the Eighteenth Century.” PhD dissertation. State University of Iowa, 1962. UM 62–2412. DA xxii.12, pp. 4370–72. xiv + 604 pages. Discusses the development of the clarinet as an instrument in the 18th century and emphasizes its use in concertos. Titus also includes references to clarinet sonatas and asserts that he lists all known ones to c.1800. 331. Heim, Norman. The Clarinet Sonata in Outline. Hyattsville (MD): Norcat Music Press, 1995. ML128.C4H35.1995. iv + 207 pages. A listing of repertoire arranged chronologically by composer from Corelli to the end of the 20th century. After a brief biography of each composer, the sonatas are listed first by modern edition, followed by the source (in many cases the sonatas are arrangements of works for other instruments), the number of movements and their tempi, a brief non-technical description, and their difficulty. The book ends with an index of composers and a list of works by the author for clarinet and other winds. For bassoon sonatas of the 18th century see 88. Although there are more studies of specific 19th-century ensemble sonatas than of those in previous centuries, there are fewer studies of the genre as a whole in the 19th century. The genre is narrowly defined during this time: a work for piano and 1 additional instrument, as in: 332. Selva, Blanche. La Sonata: Étude de son Évolution Technique, Historique et Expressive en Vue de l’Interprétation et de l’Audition. 3rd ed. Paris: Lerolle, 1913. ML 745.S5. viii + 250 pages. A short, dated, and inaccurate history of sonata and sonata form and binary and ternary forms. It contains a much longer, much more plausible essay on the function of the interpreter of music. Selva concentrates on the sonata before Beethoven, Beethoven’s sonatas, and the sonata after Beethoven. She defines sonata as a piece for keyboard with or without 1 other instrument, in 3 or 4 movements.

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The book covers mostly solo keyboard works, with a surprising emphasis on the sonatas of Friedrich Wilhelm Rust. This book is of primary interest to the scholar who seeks French attitudes toward chamber music c.1900; it is avowedly under the influence of d’Indy, to whom the book is dedicated. Newman 279 is the best overall study of the period. Another, barely adequate, study is: 333. Shand, David Austin. “The Sonata for Violin and Piano from Schumann to Debussy (1851–1917).” PhD dissertation. Boston University, 1948. DD xv (1948), p. 111. 403 pages. An attempt to characterize a large number of violin + piano sonatas by European and American composers. Shand notes the balance between the 2 instruments, nationalism, and the influences of Wagner and Franck. The thesis is of value for its scope, not its scholarship. The best coverage in a brief format and an interesting study of the phenomenon of arrangements of earlier editions is: 334. Freywald, Volker. Violinsonaten der Generalbass-Epoche in Bearbeitungen des späten 19. Jahrhunderts, in Hamburger Beiträge zur Musikwissenschaft, Band 10. Hamburg: Karl Dieter Wagner, 1973. ML 895.F748V6. ISBN 3-921029-17-1. vii + 278 pages. Reprint of Hamburg University PhD dissertation, 1971. An attempt to understand the motivation and extent of interest of musicians 1850–99 in 18th-century violin-basso continuo music. Freywald reviews the revival of interest in older music in the 19th century; the low standing of violin sonatas vis-à-vis fantasy pieces and opera arrangements 1820–40s; and the revival especially of Bach’s Chaconne, Tartini’s Devil’s Trill and Corelli’s Op. 5 in arrangements by Mendelssohn, Schumann, Vieuxtemps, Ferdinand David, and others from the 1840s on. Some 18th-century sonatas of the Baroque remained known in the original and were used by violin students at the Paris Conservatoire and elsewhere, but not in public concerts. Arrangements in the middle of the 19th century brought these pieces before the public, and many new editions appeared. This is a catalogue of editions of such music 1849–99, with complete title of original and basic title of 19thcentury arrangement with date, arranger, publisher, and commentary. America enters the picture with: 335. Starr, James Alfred. “A Critical Evaluation of Performance Style in Selected Violin Works of Nineteenth Century American Composers.”

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DMA dissertation. University of Illinois, 1978. DAI xxxix.5A, p. 2612. 282 pages. Analyzes overall characteristics, performance style, and worth, from a performance or compositional standpoint in 7 violin + piano sonatas. The appendix has a performance edition of Horace Wadham Nicholl’s sonata, as well as some smaller pieces for violin and piano. The overall picture of the 20th century has yet to be drawn. For now, there are numerous specialized studies. 336. Dresser, Mary Anne. “Twentieth-Century Russian Cello Sonatas.” DMA dissertation. University of Texas, 1983. UMI 83–19554. DAI xliv.5A, p. 1235. Concentrates on the relationship to communist theory of 4 sonatas by Rachmaninov (1901), Shostakovich (1932), Prokofiev (1949), and Kabalevsky (1962). The first 2 are Germanic and not communist; the latter 2 are communist and follow the 1936 [and 1948] crackdowns. Dresser also mentions other chamber music by these 4 composers. 337. Lister, William Warwick. “The Contemporary Sonata for Violin and Piano by Canadian Composers.” MAD dissertation. Boston University, 1970. UMI 71–13419. DAI xxxi.11A, p. 6099. 271 pages. Analysis of form, melody, harmony, rhythm, texture, and violinistics in 12 sonatas by 11 20th-century Canadian composers: Murry Adaskin, Istvan Anhalt, Jean Coulthard, Oskar Morawetz, Jean PapineauCouture, Barbara Pentland, André Prévost, Harry Somers, Robert Turner, Jean Vallerand, and John Weinzweig. 338. Carlson, Paul Bollinger. “An Historical Background and Stylistic Analysis of Three Twentieth Century Compositions for Violin and Piano.” DMA dissertation. University of Missouri–Kansas City, 1965. UMI 67–10099. DA xxviii.2A, p. 706. 76 pages. Two chapters each to Stravinsky’s Duo Concertante, Webern’s Four Pieces Op. 7, and Ives’ Sonata No. 2. 339. Tyska, Theodore Charles. “Technical Problems in Contemporary American Violin Sonatas.” MA thesis. American University, 1961. UM-321. MA I.l (1962), p. 36. 61 pages. For contemporary flute sonatas, see Mellott’s “A Survey of Contemporary Flute Solo Literature with Analyses of Representative Compositions” 137. 340. Theodore, Peter C. “A Survey of Published Sonatas and Sonatinas for Flute by American Composers since 1920.” MA thesis. Catholic University of America, 1967. 87 pages.

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341. Geeting, Daniel Meredith. “A Comparative Study of Sonatas for Clarinet and Piano Published in the United States from 1950–70.” DMA dissertation. University of Oregon, 1974. UM 75–3875. DAI xxxv.10A, pp. 6750–1. A cursory study of 23 available sonatas and a comparative analysis of a more traditional sonata by Boris Pillin and a more innovative one by Howard Rovics. See also John Drew’s dissertation on 20th-century American sonatas for trombone + piano 743. WOODWIND ENSEMBLES There is a small but fascinating literature about woodwind ensembles. 342. Niecks, Frederick. “Music for Wind Instruments Alone,” in Monthly Musical Record, xlviii (1918), 122–4, 148–9, and 170–1. One of the best early histories of wind ensemble music from the mid18th to the end of the 19th century. The term “Harmonie” meant such ensembles serving in military or domestic music (accompanying dinners as in Don Giovanni). Commonly 1 oboe + 2 clarinets + 2 bassoons + 2 horns, but other combinations as well. Niecks describes the careers of François Devienne (1759–1803) and Joseph Küffner (1776–1856), important wind players, and also the contributions of Mozart, Haydn, C.P.E. Bach, Beethoven, Schubert, Dittersdorf, Pleyel, Danzi, L.E. Jadin (1768–1853), Louis Javault, Gossec, Reicha, Onslow, and others. He lists many woodwind ensemble works. 343. Fleury, Louis. “Chamber Music for Wind Instruments,” in Chesterian, new series, No. 36 (January 1924), 111–16; No. 37 (February 1924), 144–8. Considers only chamber music for winds alone or with piano (no strings). The author deplores the public’s ignorance of wind chamber music and reviews the history of such music (Haydn, Mozart, and Beethoven), noting the absence of the flute. The 19th century ignored the winds, except for minor composers like Spohr, Onslow, and Reicha. Paul Taffanel’s society in late-19th-century Paris revived such music in concerts of the classics together with new wind chamber music by the best composers of the time including Saint-Saëns, Gounod, Lalo, Rubinstein, and Raff. This group was succeeded by La Société Moderne d’Instruments à Vent, first under Barrère 1895–1905 and still active in 1924. Fleury lists newer works for wind chamber music, emphasizing Les Sixes.

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344. Seay, Albert E. “Modern Composers and the Wind Ensemble,” in Music Educators Journal, xxxv (September–October 1948), 27–8. Assesses the bad performance of wind chamber music in America and the lack of professional American groups (only 2 short-lived professional wind quintets by 1948). Seay blames schools, which need to encourage American composers to write good wind chamber music. To do this, the students’ horizons must be extended—they must be taught more background and understanding of contemporary styles. 345. Hedlund, Harry Jean. “A Study of Certain Representative Compositions for Woodwind Ensemble, ca.1695–1815.” PhD dissertation. University of Iowa, 1959. LC Mic 59–1683. DA xix.12, p. 3321. 223 pages. Limited to works a3-a10, excluding recorder, string, keyboard, percussion, and brass instruments other than the French horn. Hedlund includes music from c.1695 (the “invention” of the clarinet by Denner) up to but not including the music of Anton Reicha; the music of Haydn, Mozart, and Beethoven is also excluded. Works by 44 composers, c.120 titles, and 21 music publishers of the 18th century are included. The author discusses the music geographically (England, France, and Germany-Austria), and lists all these pieces by composer and by scoring in appendices. 346. Carroll, Paul. Baroque Woodwind Instruments: A Guide to Their History, Repertoire and Basic Technique. Aldershot: Ashgate, 1999. ISBN 1-85928-326-8. ML931.C37.1999. x +181 pages. A good introduction to Baroque chamber music for bassoon, flute, oboe, and recorder for enthusiasts who have never confronted this music before. Carroll gives substantial information on these Baroque wind instruments per se—their structure and how to play them—and also a sketch of the music written for them, including specifically sonatas and other chamber music of the 17th and 18th centuries. 347. Kaplan, David Leon. “Stylistic Trends in the Small Woodwind Ensemble from 1750–1825.” PhD (theory) dissertation. Indiana University, 1977. UMI 78–13164. DAI xxxix.2A, p. 532. 527 pages. Analyzes melody, harmony, tonality, texture, and organizing features in 10 representative works. 348. Schmuhl, Boje E. Hans and Ute Omonsky, eds. Zur Geschichte und Auffuhrungspraxis der Harmoniemusik. Michaelsteiner Konferenzberichte, no. 71. Blankenburg am Harz: Kultur-und Forschungsstatte Michaelstein; Augsburg: Wissner, 2006. ISBN 3895121312. 439 pages.

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A collection of 25 essays on different aspects of Harmonie music from the beginning of the 18th century through the first half of the 19th. It covers Germany, Bohemia and Moravia, and Sweden. Of special interest is Ursula Kramer, “Harmonie music—Streichquartett— Bläserquintett: Anmerkungen zum Gattungsgefüge der Kammermusik im späten 18. und frühen 19. Jahrhundert” (pages 135–48). She discusses the complicated relevance of later sophisticated wind quintets to the earlier, less arty Harmonie and to the premier string quartet. 349. Fitzgibbon, H. Macaulay. “Some Recent Chamber Music for Wind Instruments,” in Musical Opinion, xxxiii (1910), 769–70. A critical discussion and description of many new publications by Breitkopf and Härtel of chamber music involving winds, such as Rheinberger’s Nonet Op. 139, Theodore Dubois’s Dixtuor (doublequintet of strings and winds), Theodore Gouvy’s Petite Suite Gauloise Op. 90 for 9 winds and Octet Op. 71 and Serenades Op. 82, and so on. Specific types of woodwind ensembles have drawn more specialized study, especially the quintet. 350. Rush, Ralph Eugene. “The Classical Woodwind Quintet: Its History, Literature, and Place in the Music Program of the American Schools.” MA thesis. University of Southern California, 1946. Not seen. 351. Sirker, Udo. Die Entwicklung des Bläserquintetts in der ersten Hälfte des 19. Jahrhunderts, in Kölner Beiträge zur Musikforschung, Band 50. Regensburg: Gustav Bosse, 1968. ML 1104.S57. PhD dissertation, 1968. A scholarly, historical study of the woodwind quintet (flute, oboe, clarinet, horn, and bassoon). It lists 18th-century forebears and describes developments in the instruments themselves. The relationship of the woodwind quintet to other types of wind music and string chamber music (especially in Mozart and Beethoven) is described. Sirker considers sociological factors, structure of the instruments, and playing techniques. Especial attention is given to the earliest ensembles of flute, oboe, clarinet, English horn, and bassoon by Franz Anton Rösler ( = Rosetti), and the ripening of the genre under Reicha. Sirker also discusses the music of Alexander Alexandrevitch Aliabev, Siegfried Benzon, Henri Brod, Cambini, Danzi, Prosper Didier Deshayes, François-Ren Gebauer, Franz Paul Lachner, Johann Georg Lickl, Friedrich Lindner, H. Lindner, Wilhelm Mangold, Martin Mengal, Peter Müller, Onslow, and Nikolaus Schmitt.

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For the bassoon in the woodwind quintet, see Ursula Kramer, “Gattungsprobleme am Beispiel der Kammermusik für Bläserensembles” 717 and 352. Le Coat, Gérard. “Le Development de la Musique pour Quintette á Vent aux États-Unis,” in Revue Musicale de Suisse Romande, xxiv (1971), No. 4, 10–12. A report to Europeans on the boom in woodwind quintets in America, where more such works have been written in the past 20 years than in Europe during the past 100 years. Le Coat explains this after giving its history. The first such compositions were written in Paris by Cambini in 1802, then by Reicha and Danzi; but after 1820, it is neglected, with only Paul Taffanel reviving it at the end of the 19th century. Then neo-classicists (with Americans Cowell and Sowerby) bring it to new fruition in the 1920s in Paris and elsewhere. The American explosion begins after 1950 with Samuel Baron, who organizes an independent quintet whose members are not part of an orchestra. It has succeeded because composers have found this combination vital and because it has become popular with school bands and ensembles, from grade school to college. 353. Davis, William. “Wind Quintets by Twenty-Two Celebrated American Composers,” in NACWPI Journal, Vol. xlv (1996), 17–19. See also Samuel Baron’s “The Rebirth of the Woodwind Quintet in America” 2613. 354. Kratochvil, Jirì. “Nekolik Poznamek k Historii Dechoveho Kvinteta,” in Hudebni Veda, vii (1970), 331–7. In Czech. Comments on the history of the woodwind quintet. 355. Wise, Ronald Eugene. “Scoring in the Neoclassic Woodwind Quintets of Hindemith, Fine, Etler, and Wilder.” PhD dissertation. University of Wisconsin, 1967. UMI 67–9026. DAI xxviii.4A, pp. 1462–3. 274 pages. Analysis of scoring and its relationship to style and musical quality. After background definitions and history, there is an analysis of 1 work by each of the 4 composers that is neo-classic and of high quality. Wise discusses idiomatic writing and difficulty, harmonic aspects of scoring, and style. The pieces are idiomatic because the ranges are mostly confined to standard ranges, there are no unplayable parts, and there are no endurance problems. Appendix II contains “the most complete bibliography of woodwind quintets to date”: over 800. 356. White, Joanna Cowan. “Woodwind Quintet Literature.” Flute Talk, xxii (November 2002), 19–21.

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A simple graded list of woodwind quintets giving composer, title, and publisher. Other types of wind ensembles are also important. 357. Thomas, Orlan Earl. “Music for Double-Reed Ensembles from the Seventeenth and Eighteenth Centuries: ‘Collection Philidor.’” DMA dissertation. University of Rochester, 1973. UMI 74–20475. DA xxxv.3A, pp. 1691–2. x + 91 pages + 103 pages of music. Concerned with instrumental pieces from the Philidor Collection a3– a6, which, it is assumed, were played by the double reed instruments active at the court of Louis XIV. Thomas documents the existence of such performers. The scoring of specific examples for oboe + bassoon + English horn is speculative. 358. Plugge, Scott Douglas. “The History of the Saxophone Ensemble: a Study of the Development of the Saxophone Quartet into a Concert Genre.” DMA dissertation. Northwestern University, 2004. ISBN 049666445X. xiii + 216 pages. An important study of a rare genre of chamber music: saxophone ensembles. After tackling the issue of when a saxophone ensemble can be considered chamber music, Plugge gives a history of saxophone ensembles from 1857 to the present. In Chapter 4 he concentrates on 4 such groups: the New York Saxophone Quartette Club, the Wonder Saxophone Quartette, the American Saxophone Quartette, and the Marcel Mule Quartet. 359. White, Kennen Douglas, Joanna M. Cowan White, and John Nichol. “The Eclectic Trio: Recommended Trios and Duos for Flute, Clarinet and Saxophone.” The Clarinet, xxxiii, No. 3 (June 2006), 35–7. An annotated list of compositions for this unusual combination of instruments, which includes author, title, duration, difficulty, publisher, a description of the piece, and information on the author. 360. Jones, Walter James. “The Unaccompanied Duet for Transverse Flutes by French Composers, ca.1708–70.” PhD dissertation. University of Iowa, 1970. UM 70–23908. DAI xxxi.6A, p. 2958. ix + 186 pages. List and discussion of c.450 duets in more than 1 movement by 32 French composers. Jones finds 3 chronological periods (1708–23, 1724–44, and 1745–70) and notes the change in style from Rococo (La Barre and Hotteterre) to Classical (virtuosic Italian style). He discusses ornaments and rhythmic alteration. 361. Fleury, Louis. “Music for Two Flutes without Bass,” trl. P. Wyatt Edgell, in Music and Letters, vi (1925), 110–18.

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A brief survey of duets for 2 flutes from the 17th century to 1925 (Koechlin’s Duet). Fleury gives special attention to Michel La Barre (1675–1743), Handel, Quantz, Michel Blavet (1700–68), Boismortier, and Kuhlau. He opens up a subject that needs to be more thoroughly studied. 362. Roos, Pauline de. “Het Fluitkwartet in Nederland in de Tweede Helft van de Achttiende Eeuw.” Fluit, xii, No. 2 (March 2004), 16–20. “The Flute Quartet in the Netherlands in the Second Half of the Eighteenth Century.” After a brief review of the vitality of musical life in Amsterdam, The Hague, and noble homes in the second half of the 18th century, Roos explains how the flute quartet flourished with both professionals and amateurs. Prominent composers included are Joseph Schmitt (1734–91) and Christian Ernst Graf (1723–1804). 363. Gille, Harry, Jr. “The Clarinet in Chamber Music.” MA thesis. University of Illinois, 1949. 364. Rice, Albert R. The Baroque Clarinet. Oxford: Clarendon Press/New York: Oxford University Press, 1992. ISBN 0-19-816188-3. ML945. R5.1991. xx + 197 pages. The first half of the book is devoted to the chalumeau and early 18thcentury clarinet as instruments per se and in regard to the techniques of playing them. Then Rice devotes the second half to the works for those instruments by composers during the first half of the 18th century. Only a handful of composers wrote chamber music involving the clarinet before 1750 (duets from 1712–15; a clarinet-hunting horn-basso trio by Ferdinand Kölbel; an overture by Handel for 2 clarinets and horn; a quartet by Johann Stamitz for 2 clarinets and 2 horns; etc.). The book includes a good bibliography. 365. Schwadron, Abraham. “Idea Exchange: New Chamber Instrumentation for the Clarinet,” in The Instrumentalist, xxi (January 1967), 16–18. Discusses the various chamber music combinations in which the clarinet is found, both to acquaint the clarinetist with increased repertory and the composer with new material. 366. Randall, David Max. “The Clarinet Duet from ca.1715 to ca.1825.” DMA dissertation. University of Iowa, 1970. UM 70–23961. DAI xxxi.6A, p. 2961. RILM 70–1540. v + 125 pages. Lists all the clarinet duets found in the time period and analyzes specifically the duets of Michel Yost and Jean-Xavier Lefévre. Randall

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gives a history of the genre, but omits arrangements of many opera airs. He does not discuss potpourris but includes them in the list. 367. Tuthill, Burnet Corwin. “Bibliography of Clarinet Sonatas,” in Woodwind Magazine, ii (December 1949), 9, and (January 1950), 9. A list of sonatas for clarinet and piano, including a few arrangements. Tuthill gives title, publisher, and sometimes useful, sometimes absurd, always opinionated comments. This updates article in Cobbett 10. It is useful for performers. 368. Klitz, Brian Kent. “The Bassoon in Chamber Music of the Seventeenth Century,” in Journal of the American Musical Instrument Society, ix (1983), 5–20. See also Klitz’s dissertation 313. A survey of bassoons and bassoon-like instruments referred to or shown in 17th-century sources, and some of the earliest 17th-century compositions to call for a solo rather than supportive bassoon part. One of the earliest is Marini’s “La Foscarina” (Affetti Musicali … Op. I, Venice: 1617) where the trombone or bassoon has tremolos. Another is by Giovanni Battista Riccio, “La Grimaneta” (Terzo Libro della Divine Lodi Musicali, Venice: 1620). Non-idiomatic bassoon writing is the rule, as in Francesco Usper’s ( = Sponga) Battaglia per Cantar e Sonar … 8 (Venice: 1619). Numerous others are surveyed, centering on Italy or Central Europe; there is almost nothing from France and England. 369. Hedlund, Harry Jean. “Ensemble Music for Small Bassoons,” in The Galpin Society Journal, xi (1958), 78–84. Describes briefly an 18th-century “parthia” for 2 horns + 2 fagottini ( = bassoons sounding an octave higher than regular bassoons) + 2 quart-bassoons (smaller bassoons sounding a fourth above the regular bassoon; sometimes called the tenoroon) + 2 regular bassoons. This is the only known chamber music for such bassoons. Hedlund analyzes form: the first movement (of 4) is binary with only a few suggestions of nascent sonata form, but the use of crescendo and decrescendo signs (first used by Geminiani in 1739) helps date the piece c.1750. It was possibly written by J.C.M. Trost. BRASS ENSEMBLES 370. Husted, Benjamin F. “The Brass Ensemble: Its History and Music.” PhD dissertation. University of Rochester, 1955. D.D. xxii (1955), p. 247. ix + 930 pages. Extensive history of brass ensemble music from the Renaissance to the 1950s, which notes its changing function from social Gebrauchsmusik

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(16th–17th centuries) to amateur arrangements of opera ditties (19th century). Husted gives an analysis of the basic characteristics of contemporary American brass music and, to a lesser extent, nonAmerican brass music. This is one of the earliest histories and theoretical studies of 20th-century brass music. See also 717. 371. Swift, Arthur Goodlow. “Twentieth-Century Brass Ensemble Music: A Survey with Analayses of Representative Compositions.” PhD dissertation. University of Iowa, 1969. UM 70–4428. DAI xxx.9A, pp. 3978–79. 2 vols. 569 pages. Traces the development of brass ensemble music 1900–1966, determines those factors that have most influenced that development, and provides a comprehensive (representative, not complete) list of original published brass ensemble works. Then 4 specific, representative works are analyzed in detail: Ewald’s Quintet, Op. 5; Ingolf Dahl’s Music for Brass Instruments; Eino Rautavaara’s A Requiem for Our Time; and Schuller’s Music for Brass Quintet. This kind of chamber music is linked to the growth of such groups in secondary schools. 372. Van Ess, Donald Harrison. “The Stylistic Evolution of the English Brass Ensemble.” PhD dissertation. Boston University, 1963. UMI 63–6645. DA xxiv.5, pp. 2074–75. 550 pages. Seeks the characteristics of style in English brass ensemble music, the significant stages of the development of the brass instruments, and the contribution made by the medium to English musical culture. Van Ess gives an historical discussion and analysis, but never specifies whether he is speaking about chamber or orchestral band music. 373. Anderson, Mark J. “Chamber Music for Brass.” The Brass Player (Spring 2000), 12+. For Polish brass chamber music see Juliusz Pietrachowicz’s article 617. 374. Baer, Douglas Milton. “The Brass Trio: a Comparative Analysis of Works Published from 1924 to 1970.” PhD dissertation. Florida State University, 1970. UM 71–6959. DAI xxxi.9A, p. 4812. 135 pages. Reviews 53 brass trios and finds the pieces conservative in form, harmony, rhythm, and style. 375. Lindahl, Robert Gordon. “Brass Quintet Instrumentation: Tuba Versus Bass Trombone.” DMA dissertation. Arizona State University, 1988. DAI Vol. l (July 1989), p. 18A. 139 pages.

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A history of the brass quintet, a review of the repertoire, interviews with brass ensemble performers, and specific study of the bass trombone and tuba parts of 6 quintets by Gunther Schuller, Alvin Etler, Jan Bach, Charles Whittenberg, Elliott Carter, and David Sampson. 376. Evans, Gregory. “The Brass Quintet Comes of Age.” Chamber Music, xxi (October 2004), 80–6. 377. Hofacre, Marta Jean. “The Use of Tenor Trombone in TwentiethCentury Brass Quintet Music: A Brief Historical Overview with Comprehensive Listing of Original, Published Twentieth-Century Quintets and a Discussion of Tenor Trombone Excerpts from Selected Compositions.” DMA dissertation. University of Oklahoma, 1986. DAI Vol. xlvii (January 1987), p. 2362A-3A. 253 pages. A review of the development of trombone technique in brass quintets during the 20th century as revealed in the works of Ingolf Dahl, Gunther Schuller, Alvin Etler, Jan Bach, Vincent Persichetti, Verne Reynolds, Malcolm Arnold, Eugene Bozza, Jan Koetsier, Edward Gregson, Michel Leclerc, and Richard Rodney Bennett. 378. Janetzky, Kurt. “Das Waldhorn-Quartett: von der Kuriosität zur künstlerischen Erfüllung,” in Musica, viii (April 1954), 142–4. In German. A brief history of the Waldhorn quartet as it appears in a description of 1806 and in a photograph in the mid-19th century. Its repertory (mostly arrangements of folksongs, chorales, opera excerpts) and its function are considered. Janetzky also gives a brief list of available pieces for Waldhorn quartet by Hindemith and others. 379. Atwell, Bruce W. “History of the Natural Horn Quartet in Selected Works from the Symphonic Literature, Chamber Music, and Opera: From the Baroque to the Romantic Period.” DMA dissertation. University of Cincinnati, 1999. DAI, lx (March 2000), p3189A. 132 pages. Concerned primarily with orchestral music, but chamber music for 4 natural horns does occur through the 19th century with composers like Dauprat, Gallay, Rossini, and Rimsky-Korsakov. 380. Van Norman, Clarendon Ess, Jr. “The French Horn: Its Use and Development in Musical Literature.” EdD dissertation. Columbia University, 1965. UMI 65–11714. DA xxvi.5, p. 2798. 74 pages. An historical approach to the use of horn in orchestral and solo (chamber) music from the 18th century to the 1960s. Special detailed attention is given to Mozart’s Horn Concerto K. 447, Beethoven’s Sonata for Horn and Piano, Op. 17; Brahms’s Trio for Horn, Violin, and Piano, Op. 40; and Henry Cowell’s Hymn and Fuguing Tune No. 12 for Three Horns.

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For the trombone in 17th-century chamber music, see Robert Tennyson’s dissertation 310. 381. Tucker, Wallace E. “The Trombone Quartet, its Appearance and Development throughout History,” in Journal of the International Trombone Association, vii (1979), 2–7, and viii (1980), 2–5. Tucker presents a survey of the history of the trombone quartet from the 16th to the 20th century and also the trombone quartet (works like Beethoven’s Funeral Equale, 1812) in combination with voices and in orchestral pieces. There is a bibliography of compositions for and of works about the trombone quartet. 382. Keathley, Gilbert Harrell. “The Tuba Ensemble.” DMA dissertation. University of Rochester, Eastman School of Music, 1982. DAI xliii.8A, p. 2488. 145 pages. Primarily a guide for composers who wish to write for the tuba ensemble, with information on range, orchestration, acoustics, and the variety of tubas available historically and today. 383. Lonnman, Gregory George. “The Tuba Ensemble: Its Organization and Literature.” DMA dissertation. University of Miami, 1974. UMI 75–12870. DAI xxxv.12A, p. 7947. 63 pages. A history of the spread of the tuba ensemble in the United States since c.1970, with the objectives of and literature for such groups. A survey of American colleges and universities finds 26 with tuba groups. Lonmann includes performance and program suggestions. 384. Boone, Dalvin Lee. “The Treatment of the Trumpet in Six Published Chamber Works Composed between 1920 and 1929.” EdD dissertation. University of Illinois, 1972. UM 73–9885. DAI xxxiii.10A, p. 5762. 244 pages. Analysis of basic elements of Stravinsky’s Octet, Varèse’s Octandre, Hindemith’s Drei Stücke, Walton’s Façade, Casella’s Serenata, and Martinú’s La Revue de Cuisine and the performance problems for the trumpet or trumpets in them. In all 6 pieces the trumpet is less active and interesting than the woodwinds and/or strings. 385. Coleman, Jack. “The Trumpet: Its Use in Selected Works of Stravinsky, Hindemith, Shostakovich, and Copland.” DMA dissertation. University of Southern California, 1965. UMI 65–12257. DA xxvi.6, p. 3389. 268 pages. The technical uses of the trumpet in chamber music as well as other pieces by these 4 composers. Coleman finds that Stravinsky has complete understanding of the trumpet’s color and idiosyncrasies,

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but finds Hindemith non-idiomatic, drab, and mechanical. Shostakovich uses only a very simple, limited trumpet technique, and Copland is complex in style, not in technique. Only a small part of the discussion concerns chamber music. 386. Tunnell, Michael Hilton. “A Comprehensive Performance Project in Trumpet Literature: An Essay on Selected Trumpet Excerpts from Brass Quintets by Ingolf Dahl, Gunther Schuller, Alvin Etler, and Jan Bach: And a Bibliography of Brass Quintets written by American Composers from 1938 to 1980.” DMA dissertation. University of Southern Mississippi, 1982. DAI xliv.1A, p. 12. 242 pages. While the bulk of the dissertation concentrates on trumpet techniques, style, and performance problems in the 4 brass quintets, there is a brief history of the brass quintet in America and a list of 293 such pieces by Americans from 1938 to 1980. An excerpt is published as “An Essay on Selected Trumpet Excerpts from Brass Quintets by Ingolf Dahl, Gunther Schuller, Alvin Etler, and Jan Bach,” in Journal of the International Trumpet Guild, viii (1984), 14–38. 387. Tuozzolo, James Michael. “Trumpet Techniques in Selected Works of Four Contemporary American Composers: Gunther Schuller, Meyer Kupferman, William Sydeman, and William Frabizio.” DMA dissertation. University of Miami, 1972. UMI 72–31896. DAI xxxiii.6A, pp. 2972–3. 63 pages, 71 examples. Discusses the various new technical devices required by the 4 composers in the trumpet parts in 10 of their works, among which are 3 brass quintets, a duo for trumpet and double bass, a piece for trumpet with wind ensemble, 2 duets for trumpet and piano, and non-chamber works. There are brief analyses of the whole pieces before they are dissected into specific examples that are categorized. See Georg Schünemann’s “Sonaten und Feldstücke der Hoftrompeter” 294 for trumpet sonatas c.1600. 388. Bolen, Charles Warren. “Open-Air Music of the Baroque: A Study of Selected Examples of Wind Music.” PhD dissertation. Indiana University, 1954. UM 54–1806. DA xiv.8, p. 1232. 264 pages. Study of the equestrian ballet and other types of open-air music including tower music by Pezel, Gottfried Reiche, Johann Phillip Krieger, and Johann Georg Christian Störl. Bolen gives brief analyses of the brass music.

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MIXED ENSEMBLES OF WOODWINDS AND BRASS See 717. 389. Marold, A. Spiel in kleinen Gruppen: Bläsermusik unter besonderer Berücksichtigung musikalisch-pädagogischer und soziologischer Aspekte, in Alta Musica: eine Publikation der internationalen Gesellschaft zur Erforschung und Förderung der Blasmusik, Band 21. Tutzing: Hans Schneider, 1999. ISBN 3-7952-0981-1. 788.M354S755.1999. 479 pages. “Spiel in kleinen Gruppen” is wind ensemble music for amateurs developed in Europe after 1945. Its purpose is socialization, not aesthetics, and through the European Community it has become a means for cooperation among different kinds of people. This book looks at the history of wind chamber music from the end of the 18th century and considers a few specific examples from duos to octets, arrangements as well as new compositions. It also deals with aesthetic and sociological concepts of Spiel in kleinen Gruppen and with pedagogical aspects. Then there is a useful list of works organized by instrument with information on the composer and a brief analysis. The book concludes with an extensive catalogue of chamber music for winds. 390. Kurtz, Saul James. “A Study and Catalog of Ensemble Music for Woodwinds Alone or with Brass from ca.1700 to ca.1825.” PhD dissertation. University of Iowa, 1971. UM 72–8273. DAI xxxii.9A, p. 5269. RILM 71–63. v + 243 pages. An historical analysis of woodwind repertory and ensembles and the terminology associated with them, followed by a catalogue. Kurtz includes a3 to a10 but excludes keyboard and strings other than double bass. He also excludes recorder, lighter works, and most band music. Popular combinations are 3 flutes; 2 oboes + bassoon + 2 horns; 2 clarinets + 2 bassoons + 2 horns; 2 oboes + 2 clarinets + 2 bassoons + 2 horns; 2 oboes + 2 bassoons + 2 horns; and 2 clarinets + bassoon + 2 horns. This is presented as a preliminary, not a final, list. 391. Kennard, Jennifer Christine. “Neglected Chamber Works for the Flute and the Correlating Historical Background.” DMA dissertation. Michigan State University, 2006. DAI, lxvii (April 2007), p3646A. Gives the historical background of and describes 6 chamber works including flute that have been neglected. The 6 works are by Joseph Bodin de Boismortier, C. P. E. Bach, Friedrich Kuhlau, Saint-Saëns, Ravel, and Pierné. Performance suggestions are included. 392. Lewis, Edgar Jay, Jr. “The Use of Wind Instruments in SeventeenthCentury Instrumental Music.” PhD dissertation. University of Wisconsin, 1964. UM 64–3928. DA xxiv.10, pp. 4223–24. 538 pages.

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Assesses the significance of the solo parts for cornetts, trombones, bassoons, trumpets, flutes, and oboes in 176 instrumental works. The most significant trumpet music is sonatas for 1 or 2 trumpets and strings (solo or orchestral?). 393. Piersol, Jon Ross. “The Oettingen-Wallerstein Hofkapelle and its Wind Music.” PhD dissertation. University of Iowa, 1972. UMI 73–13583. DAI xxxiii.12A, p. 6954. 853 pages. A detailed history of this late-18th-century court orchestra and its wind ensembles and chamber music. The orchestra was famous at the time and had the respect of Haydn. Appendix A gives biographies of all the 18th-century wind musicians at court including Joseph Beder, Franz Czerwenka, Johann Feldmayr, Joseph Fiala, Johann Nisle, and Johann Türrschmidt. Appendix B gives incipits for and discussion of wind ensemble music a5 or larger in the court library (by Reicha, Rosetti, Feldmayr and Paul Winneberger). Appendix C is an annotated list with incipits of all other compositions in the library with winds either solo or with strings. 394. Starkey, Willard A. “The History and Practice of Ensemble Music for Lip-Reed Instruments.” PhD dissertation. University of Iowa, 1954. UMI 00–10246. DD xxii (1955), p. 246. DA xv.1, p. 131. 610 pages. A history of ensembles of brass instruments and some related non-brass ones (such as zink and cornett), the social situation of such ensembles, performance practices, and a large survey of the literature. 395. Wahl, Ralph Victor. “Mixed-Wind Chamber Music in American Universities.” AMD dissertation. University of Arizona, 1977. UMI 77–20632. DAI xxxviii.4A, p. 1734. 480 pages. Discusses specific performing groups (American Wind Symphony Orchestra, Eastman Wind Ensemble, the Netherlands Wind Ensemble), specific college curricula, recordings, publications, and compositions (Chapter 3 discusses 70 representative pieces for university-level concert mixed-wind chamber groups). The appendix includes a list of 861 pieces of all styles, from the 18th to the 20th centuries, by more than 300 composers. 396. Hall, Harry Hobart. “The Moravian Wind Ensemble: Distinctive Chapter in America’s Music.” PhD dissertation. George Peabody College, 1967. UM 67–15007. DA xxviii.7A, pp. 2712–3. 2 vols. 568 pages. Unclear if band or chamber music. Hall gvies a history of its origins in Germany c.1731, its American start in Georgia 1735–40, and its

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progress up to 1967. He discusses religious as well as secular aspects, including chorales, marches, dances, and collegia musica (virtuosic woodwind ensembles); he includes institutions, persons, and the music (especially that by David Moritz Michael, 1751–1827). 397. Mathez, Jean-Pierre. “The Art of Chamber Music, Part 1.” Brass Bulletin, No. 113 (2001) 42–6; Part 2, No. 114 (2001), 78–80. Also in French and German. 398. Oneglia, Mario Francesco. “The Trumpet in Chamber Music other than Brass Ensemble.” EdD dissertation. Columbia University, 1966. UMI 67–5543. DA xxvii.12A, pp. 4287–8. 232 pages. A general discussion of the repertory in the Baroque, Classical, Romantic, and Modern periods, with detailed analysis of a work from each period by a representative composer. Oneglia also lists the repertory for students, teachers, and performers, with publishing data. Sometimes this music is referred to as Harmoniemusik. For example, see 1848 and 342. OTHER GENRES Of the remaining genres of chamber music in historical studies, the piano trio receives the most attention. 399. Smallman, Basil. The Piano Trio: Its History, Technique and Repertoire. Oxford: Oxford University Press, 1989. ML1165.S6.1989. Paperback 1992. ISBN 0-19-318307-2. vi + 230 pages. 2nd ed. Oxford: Clarendon, 2000. ISBN: 0-19-816304-5. viii + 230 pages. An outstanding history of the piano trio that is not only up-to-date on research but well written for both the layperson and the scholar. Beginning with Mozart’s piano trios of 1786 and continuing until the 1980s, the principal milestones in the development of the genre are analyzed, along with related works that influenced the trio. Smallman points out the various stages leading up to Mozart’s pioneering works, including Baroque forms, classical string quartet, piano concerto, and duet sonata, and the evolving piano instrument. He also pays attention to the inherent difficulties of blending the piano with strings. 400. Streletski, Gérard, ed. Le Trio avec piano: histoire, langages, et perspectives. Actes du colloque qui s’est déroulé les 8 et 9 avril 2004, salle Witkowski à Lyon. Lyon: Symétrie, 2005. ISBN: 2914373082. 165 pages. A collection of papers on the piano trio read at the international competition of chamber music in Lyon, April 5–9, 2004. The essays

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include Pierre Saby, “Ascendance du trio avec clavier: regards sur les ‘Pièces de clavecin en concerts’ de Jean-Philippe Rameau”; Hervé Audéon, “Notes sur le trio avec piano en France vers 1800 et le concept d’accompagnement” [this contains a long list of trios from c.1800]; Denis Le Touzé, “Gestes expressifs et dramaturgie de la forme dans le deuxième movement du Trio Op. 100 (D 929) de Schubert”; Catherine Legras, “Les trios avec piano de Louise Farrenc”; and Isabelle Bretaudeau, “Empreintes et tournures modales dans le ‘Trio’ avec piano en ‘sol’ mineur Op. 3 d’Ernest Chausson”. Streletski also leads a round table with 2 violoncellists and a conservatory director on such questions as how much more difficult it is for a piano trio to exist today than for a string quartet. 401. Flamm, Christa. “Leopold Kozeluch: Biographie und stilkritische Untersuchung der Sonaten für Klavier, Violine und Violoncello nebst einem Beitrag zur Entwicklungsgeschichte des Klaviertrios.” PhD dissertation. University of Vienna, 1968. 3 vols. 471 pages. A well-written, scholarly study. Flamm follows Erich Schenk (Die italienische Triosonate 303; see also 327) in pointing out that the classical trio came not from the Baroque trio sonata but from the solo piano sonata with obligato accompaniment; therefore, she specifically differs from Karsch 408 and Blume 403 who see the Classical trio developing from the Baroque trio sonata. Flamm believes the basic issue is the separation of the continuo from obligato accompaniment instruments; only when the keyboard is written out is there a basis for the piano trio (therefore not trio sonatas with figured bass but sonatas with obligato bass that share some of the motives). J.S. Bach emancipates the keyboard, but the gamba still just doubles the bass line. Rameau is the first to give 2 separate string parts from the keyboard: a violin and a viola with keyboard in which all 3 instruments play a separate but equal role. Mozart is the first to give the cello complete melodic identity with and freedom from the piano and violin. Flamm also considers the French sonata for keyboard with violin accompaniment to be a source for the piano trio, but not the Italian violin sonata with continuo accompaniment and German violin sonata with obligato accompaniment. She discusses much more of crucial importance to the development of the piano trio genre and includes the role of Kozeluch’s piano trios. 402. Finscher, Ludwig. “Haydn, Mozart, Beethoven und die ‘Erfindung’ des Klaviertrios.” Rezeption als Innovation: Untersuchungen zu einem Grundmodell der europäischen Kompositionsgeschichte: Festschrift für Friedhelm Krummacher zum 65. Geburtstag, eds. Bernd Sponheuer, Siegfried Oechsle and Helmut Well, in Kieler Schriften zur Musikwissenschaft, xlvi (Kassel: Bärenreiter, 2001), 135–48.

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A history of the sonata for keyboard with the accompaniment of violin and violoncello outside Vienna before 1800 (C.P.E. Bach and Pleyel), in Vienna in the later 18th century (Haydn and Mozart), and in Vienna from 1795 on (Beethoven). What was in the first case an unpretentious genre designed primarily for lady amateurs became, especially through Mozart, a rigorous genre with a high level of emotional intensity. When writing trios for London, Mozart reverted to the vogue there. After an early attempt at a trio before he arrived in Vienna, Beethoven chose piano trios for his debut publication in that city, probably because he was not yet ready to challenge Haydn and Mozart in string quartets and symphonies. In any case, with and after Beethoven’s Op. 1, it was a piano trio with 3 equal instruments written for Kenner and professionals. 403. Blume, Ruth Christiane. “Studien zur Entwicklungsgeschichte des Klaviertrios im 18. Jahrhundert.” Ph.D. dissertation. University of Kiel, 1962. i + 239 pages + xviii pages of music. Concerned with the form, theme, harmony, and tonality, and the use of instruments in the piano trio from 1760 to 1800 with special attention to the works by Haydn and Mozart. Much of the discussion of Haydn’s trios is invalidated by 970–77. Blume is not concerned with studying the nature of the sources but with the music alone. She gives a review of the development of the Baroque sonata into the Classical piano trio. 404. Dunn, Nancy Rose. “The Piano Trio from its Origins to Mozart’s Death.” DMA dissertation. University of Oregon, 1975. UMI 76–00923. DAI xxxvi.7A, p. 4094. 97 pages. Discusses a few compositions by Schobert (c.1767), Mozart, Haydn, and Beethoven that can be convincingly labeled piano trios (as opposed to accompanied keyboard sonatas or anything else). Dunn considers the independence of the cello, the independence of the violin, and the technical and musical demands made upon the 3 performers. This is a brief, to the point, dissertation. 405. Abbiati, Franco. “Origini del Trio con Pianoforte,” in Storia della Musica, iii (Milan: Garzanti, 1941) 465–74. ML 160.A2. In Italian. An outdated treatise that was important in its day. Abbiati traces the development of the piano trio from the trio sonata of the 17th century with its 3 lines of music to the solo sonata of the mid-18th century, to the freeing of the keyboard from the continuo, to the keyboard (trio) sonata with accompanied or obligato violin + cello (Wagenseil and Haydn) or harpsichord with violin + bass (Schobert).

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These were sometimes called divertimenti—it took Beethoven to free the trio from the frivolous divertimento. 406. Cesari, Gaetano. “Origini del Trio con Pianoforte,” in Franco Abbiati, ed. Scritti inediti (Milan: Carisch S.A., 1937) pages 183–98. ML 60.C35S43. Also in Storia della musica, iii (Milan, 1941), 465ff. Similar to Abbiati’s article with the same title 405. The emancipation of the harpsichord from the continuo was necessary for the piano trio to emerge from the trio sonata; Cesari sees this emancipation in the sonatas of J.S. Bach with obligato continuo rather than basso continuo. A sonata a tre means 3 lines of music, not 3 instruments, so when the right hand has its own written-out counterpoint, 1 violin + harpsichord + cello = trio sonata (cello = harpsichord left hand). At this point, the keyboard is the principal instrument; the cello continues as a bass support and the violin becomes accompaniment (Wagenseil’s divertimenti, Haydn’s Sei Sonate per Clavicembalo con Accompagnamento d’un Violino e Violoncello, 1776, and Schobert). For a study of Haydn’s piano trios, see 1567. 407. Finscher, Ludwig. “Mozarts Klaviertrios im historischen Kontext.” Mozart-Jahrbuch (2005), 51–8. In the decade 1780–90, there were 3 kinds of piano trios being written in Vienna: the London (Muzio Clementi), the Vienna (Leopold Kozeluch), and Haydn’s. The German Johann Franz Xaver Sterkel’s trios also were of some importance. Finscher concentrates on characterizing Clementi’s and Kozeluch’s works. 408. Karsch, Albert. “Untersuchungen zur Frühgeschichte des Klaviertrios in Deutschland.” PhD dissertation. University of Köln, 1943. Film copy at University of Virginia. 108 + 11 pages. Traces the beginning of the piano trio from Franz Xaver Richter (who transferred Classical style to the medium), Johann Schobert, J.S. Bach (who freed the keyboard from merely accompanying), J.C. Bach (who was the first to create equality among all 3 instruments), J.C. Bach’s circle (Johann Samuel Schröter, 1750–88, and others), and Mozart. The emancipation of the cello and keyboard are decisive for this genre and receive the bulk of the attention; the violin already had achieved concertante status. The cello is emancipated with the gradual acceptance of improvised ornaments in and variation of the bass in the 1730s and after. Karsch goes into the 16th century to trace the keyboard as accompaniment and as doubling instrument; then, with Marini’s Sonata per l’organo e violino o cornetto (from Op. 8), the violin and organ right hand form a trio sonata over the organ left

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hand. Other milestones are the obligato keyboard sonata with accompanied violin of J.S. Bach and the French keyboard sonata with accompanied violin of Mondonville and Guillemain. There is a brief analysis of a group of early trios or pre-classical trios by Ernst Eichner (1740–77), J.C. Bach, Johann Georg Lang (1724–94), Schobert, Vanhal, Otto Konrad Zink (1746–1832) and Nathanael Gottfried Gruner. 409. Komlós, Katalin, “The Viennese Keyboard Trio in the 1780s: Sociological Background and Contemporary Reception,” in Music and Letters, lxviii (1987), 222–34. Excerpted from “The Viennese Keyboard Trio in the 1780’s: Studies in Texture and Instrumentation.” Ph.D. dissertation. Cornell University, 1986. Shows that the piano trios of most Viennese composers are dedicated to women, since there were a great many fine women amateur pianists there then. The growth of the bourgeoisie meant the growth of music for it. Kozeluch was the most important piano teacher for the Viennese amateur. Komlós lists the publications of keyboard trios, keyboard sonatas with violin, and keyboard quartets and quintets in the 1780s in Vienna and shows that the years 1786–88 were the most prolific for all kinds of chamber music. She also shows arrangements. She shows the reception of the works of Hoffmeister, Kozeluch, Mozart, Vanhal, Haydn, Clementi, Pleyel, and Sterkel as reflected in the reviews of the time. 410. Irving, Howard Lee. “The Piano Trio in London from 1791 to 1800.” PhD dissertation. Louisiana State University, 1980. UMI 81–10417. DAI xli.11A, pp. 4535–6. 304 pages. A comparison of Haydn’s trios published in London in 1791 and 1794 with trios by other composers published in London at the same time (especially by Clementi, Johann Baptist Cramer, Adalbert Gyrowetz, Leopold Kozeluch, and Ignaz Pleyel). Basically, the advanced compositional techniques used by Haydn were ignored by the others. Irving examines phrase structures, number of movements, tempo, meter, tonality, mode, and form. The 173 trios are either sonatas with optional violin and cello or concertante sonatas. For a study of piano trios in England, see 113. For a study of piano trios in France, see the following: 411. Gribenski, Jean. “Le Trio avec Clavier à Paris pendant la Revolution et l’Empire,” in Revue de Musicologie, Vol. lxxiii (1987), 227–48. 412. Wang, Hsiu-Hui. “Tracing the Development of the French Piano Trio.” DMA dissertation. University of Maryland College Park, 1999. 69 pages. 4 CDs. DAI Vol. lxi (August 2000), p. 422A.

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A performer’s study of piano trios by Rameau, Franck, Saint-Saëns, Lalo, Debussy, Chausson, Fauré, Ravel, and Françaix. 413. Lin, Yea-Shiuh. “The Piano Trio in France, ca. 1880–1920: Debussy, Chausson, Faure, and Ravel.” DMA dissertation. University of Cincinnati, 1998. 152 pages. DAI Vol. lix (May 1999), p. 4004A. Studies 4 contemporaneous trios and shows that while Ravel and Fauré continued the classicism of Saint-Saëns, Chausson, and Debussy followed the post-Romantic style of Franck. Analyses are presented to prove the point. 414. Schubert, Giselher. “Francks Klaviertrio op. 1 Nr. 1: Historische Bedeutung und asthetisches Urteil.” In Cesar Franck: Werk und Rezeption, ed. Peter Jost. Stuttgart: Steiner, 2004. ISBN 3515082654. 60–73. A fascinating analysis of the very early Franck piano trio that takes Vincent D’Indy’s analysis of the piece and disputes, point by point, much of what D’Indy says. Then Schubert compares Franck’s treatment of standard forms and cyclic forms with those used by Franck’s and D’Indy’s pupils in their early piano trios: Ernest Chausson (Op. 3, 1881), Guillaume Lekeu (1891), and Albert Roussel (Op. 2, 1902). At the end, he adds a further comparison with the early piano trio by Debussy (1880), which was uncovered only in 1982 and which is not of a stature as his Quartet and later works. 415. Nakagawa, Eri. “A Stylistic Analysis of the Piano Trios of SaintSaens and Ravel.” DA dissertation. Ball State University, 1996. 325 pages. DAI Vol. lviii (September 1997), p. 637A. Stylistic and formal analyses of 2 trios by Saint-Saëns and 1 trio by Ravel. 416. Horan, Catherine Anne. “A Survey of the Piano Trio from 1800 to 1860.” PhD dissertation. Northwestern University, 1983. UMI 84–3432. DAI xliv.11A, p. 3200. 867 pages. Detailed analyses of form, tonality, and instrumental relationships in 20 piano trios. Horan systematically deals with various definitions of the word trio in contemporary sources, and gives 2 catalogues of the entire repertory: thematic and by composer. The dissertation is limited to trios for violin + cello + piano by composers who wrote at least 3 such works from 1800 to 1860. Most are Hausmusik pieces. 417. Starr, James, and Elaine Edwards. An Introduction, Analysis, and Performance Evaluation of Selected Piano Trio Literature of the Twentieth Century. In Mellen Studies in Applied Music, v. Lewiston (NY): Edwin Mellen Press, 2003. ISBN: 0773465405. xi + 364 pages.

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A practical catalogue of 41 piano trios that includes information on the composer, year of composition, publication, form, length, difficulty, style and other information of each trio. The trios are listed alphabetically by composer. The book is useful for the performers of this repertory and for annotaters. Some of the trios are well-known, and others are little-known. Relying partially on Nancy Ping Robbins’s thesis, this collection is a personal account by performers of the repertory they have chosen. At the end, there is a list of over 70 additional 20th-century piano trios that were not chosen for discussion. 418. Kramer, Muriel. “The Piano Trio in German Cities from 1830 to 1860.” MA thesis. University of Illinois, 1974. 419. Bagge, Selmar. “Das modern Claviertrio und seine Vertreter.” Deutsche Musik-Zeitung, ii (1861), 369–72, 377–80, 385–8, and 393–4. An important historical document relating to the revival of the piano trio in the mid-19th century. See also 1185. For the piano trio in Skandinavia, see 627–629. 420. Drucker, Arno P. American Piano Trios; a Resource Guide. Lanham (MD): Scarecrow Press, 1999. ISBN 0-8108-3608-4. ML128.C4D78. xvi + 404 pages. A useful guide to this repertoire. Drucker gives the name of composers, with a brief biography, the title of their trios, a discography, and reviews. 421. Drucker, Arno Paul. “A Chronological Survey and Stylistic Analysis of Selected Trios for Piano, Violin, and ‘Cello Composed by Nativeborn United States Composers during the Period 1920 to 1945.” DMA dissertation. Peabody Conservatory of Music, 1970. UMI 77–17294. DAI xxxviii.2A, p. 4536. 275 pages. A survey of the American piano trio, its sources, and its publications, and a list of 30 trios by Americans, with a biography of each composer, a bibliography, and a stylistic analysis of each trio by each composer. Chapter 2 contains a detailed analysis of the trios of Riegger, Luening, Copland, Harris, Piston, and Finney. The appendix lists 125 trios by native-born American composers with date, publisher, and source. 422. Neihouse, Paula M. “Piano-String Trios by Selected American Women Composers, 1923–45: A Study and Performance Guide.” DMA dissertation. University of Miami, 2001. DAI, lxii (May 2002), p3619A. xi + 126 pages.

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A description and analysis of Mary Howe’s “Suite Melancolique,” Ulric Cole’s “Suite for Violin, Cello and Piano,” and Fannie Charles Dillon’s “Trio for Violin, Cello and Piano, Op. 118.” Trios by other women were excluded either because they were already well-known (Beach) or were not worthy musically. Chapter 1 outlines the struggles that women composers have had and still have. Later chapters give historical background to each of the 3 trios and formal analyses. 423. Hobstetter, Robert. “A Study of the Ensemble Devises in the Trios for Piano, Violin and Cello.” MA thesis. University of Rochester, 1946. As we have seen, of particular concern to historians is the changing role of the keyboard from the continuo to the obligato keyboard to the equal partner in chamber music. This is important not only for the piano trio. 424. Fillion, Michelle Marie. “The Accompanied Keyboard Divertimenti of Haydn and his Viennese Contemporaries (c.1750–80).” PhD dissertation. Cornell University, 1982. DAI xliii.12A, p. 1740. 2 vols. 573 pages. “The first full-length study of Viennese chamber music with obligato keyboard before 1780”—primarily trios for harpsichord + violin or flute + bass, and quartets for harpsichord + 2 violins + bass. Fillion analyzes 93 such divertimenti: scoring, authenticity, chronology, and definition of repertory; and analyzes forms, textures, and styles with historical and aesthetic significance. Volume II contains a thematic catalogue and presents full or partial editions of 15 previously unpublished pieces. 425. Hering, Hans. “Das Klavier in der Kammermusik des 18. Jahrhunderts,” in Die Musikforschung, xxiii (1970), 22–37. In German. Starts with the sonatas in which J.S. Bach used the keyboard either as obligato or as continuo. Hering considers the accompanied keyboard sonatas of Bach’s sons, the Mozarts, Mondonville, and others; he concludes with the equality of the keyboard and other instruments in sonatas and trios by W.A. Mozart and Haydn. He aims to correct false titles in modern editions, such as The Violin Sonatas of Mozart (Mozart wrote no violin sonatas but sonatas for klavier and violin). In addition to the piano trio, the piano quartet and piano quintet are significant genres. 426. Smallman, Basil. The Piano Quartet and Quintet: Style, Structure, and Scoring. Oxford: Oxford University Press, 1994. ML 1165. S59.1994. ISBN 0-19-816374-6. [set before 305 and before 309] ix + 196 pages.

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An analysis of specific compositions and movements with emphasis on the relationship of the piano to strings and, in the final chapter, to wind instruments as well. The works range historically from Schobert to Schnittke (1733–1990). 427. Aschauer, Michael Jordan. Einheit durch Vielfalt? Das Klavierkammermusikwerk ausgewählter ‘Konservativer’ um Johannes Brahms. In Europäische Hochschulschriften, Reihe 36, ccxlvii. Frankfurt am Main: Peter Lang, 2006. ISBN 3631547706. 412 pages. Originally PhD dissertation. University of Graz, 2003. Discussion of the chamber music of Robert Fuchs (1847–1927), Hermann Goetz (1840–76), Karl Goldmark (1830–1915), Heinrich von Herzogenberg (1843–1900), Josef Gabriel Rheinberger (1839–1901), Richard Strauss (1864–1949), and Robert Volkmann (1815–83). Aschauer considers the influence of Brahms on these composers, the social and historical position of chamber music at the time, their relationship to the neo-German movement of Wagner and Liszt, and their identity as traditionalists or modernists. Then he presents basic information about the specific piano trios, piano quartets, and piano quintets written by the 7 composers, together with simple analyses. 428. Michaels, Jost. “Die ungewöhnliche Entwicklungsgeschichte des Klavierquartetts,” in Das Orchester, xlvi (1998), 10–15. Compares the piano trio, the piano quartet, and the piano quintet. The first was popular continually from Haydn through to Ravel, while the other 2 are comparable in their sporadic histories. Michaels lists important quartets and quintets of Brahms’s contemporaries. The piano quartet reaches high points with Mozart (and youthful Beethoven), and then, after intervals, with later composers such as Ferdinand Ries and Carl Maria von Weber, Mendelssohn, Schumann, Brahms, and Max Reger. All of these found new relationships between the piano and the string ensemble. 429. Stern, Marion Goertzel. “Keyboard Quartets and Quintets Published in London, 1756–75: A Contribution to the History of Chamber Music with Obbligato Keyboard.” PhD dissertation. University of Pennsylvania, 1979. UMI 79–19522. DAI xl.3A, p. 1147. 339 pages. Survey of the repertory of accompanied keyboard sonatas. Stern considers 3 textures: trio sonata, accompanied sonata, and concertante sonata. He gives their historical background. He finds 70 quartets and 21 quintets published in London 1756–75 by native English, Italians living in London, French (Schobert), and German composers. These were performed by professionals at public and private concerts. He shows the use of sonata-rondos for finales, predating Mozart K.

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157. He discusses the relative importance of the keyboard vis-à-vis the strings. For more on the comparison of the piano quartet and quintet, see 113. 430. Fuhrmann, Roderich. Mannheimer Klavier-Kammermusik. Marburg: Erich Mauersberger (typewriter photocopy), 1963. ML 1129.F84. iv + 197 pages. A scholarly study of keyboard chamber music from Mannheim exclusive of continuo chamber music and inclusive of sonata form. Fuhrmann divides Mannheim composers into 4 groups: older generation of orchestral players (J.W.A. Stamitz, F.X. Richter, I.J. Holzbauer, C.G. Toeschi, and Anton Filtz); younger generation of orchestral players (C.P. Stamitz, Abb Vogler, and Franziska Dorothea Lebrun); non-orchestral players (Ernst Eichner and L. Tautz); and foreign composers (Andreas E. Forstmayer, ? Liber, and Joh. Franz Xaver Sterkel). He discusses each composer’s biography and relevant chamber music. He analyzes form, motivic development, number of movements (usually 3, sometimes 2, rarely 4), Italian and French versus Viennese influences, and the function of the music. It is a wide-ranging discussion, based primarily on the music itself and not on secondary literature. 431. Saam, Joseph. Zur Geschichte des Klavierquartetts bis in die Romantik, in Sammlung musikwissenschaftler Abhandlungen, No. 9. Strassburg: Heitz, 1932. ML 1165.S2. Inaugural dissertation. Ludwig-MaximilliansUniversität Munich, 1931. iii + 170 pages. Opens with a short chapter on the precursors of the piano quartet (trio sonatas, piano concertos, string quartets). Then there is a discussion of the piano quartet with 2 discant instruments (piano rather than continuo; symphonic structure and its influences; Schobert, J.A. Bauer and many others). Most of the discussion focuses on the piano quartet with string trio (violin + viola + cello) by Georg Joseph Vogel (1749–1814), Mozart and Beethoven, then Pleyel, Wranizky, Tomaschek, Danzi, A.J. Romberg, and finally the romantic generation of Dussek, Prince Louis-Ferdinand, Cramer, Hummel, Moscheles, Bernhard Romberg, Ferdinand Ries, and Czerny. Saam briefly discusses thematic development, tonality, and form in each of their quartets. The piano quartet’s forebears were 2 kinds of trio sonatas: 2 treble instruments + continuo (cello + equivalent harpsichord) and 2 treble instruments + independent cello or viola + continuo. Telemann’s suites exemplify the latter. Christoph Schaffrath’s sonatas for viola da gamba + violin + cello + harpsichord lead to the string quartet, not the piano quartet.

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Johann Schobert wrote the first real piano quartet (its precursors were trio sonatas, chamber trios, chamber quartets, and piano concertos), where there is a new spirit and the cello is separate from the keyboard. 432. Koo, Jae-Hyang. “A Study of Four Representative Piano Quintets by Major Composers of the Nineteenth Century: Schumann, Brahms, Dvorak and Franck.” DMA dissertaton. University of Cincinnati, 1993. 101 pages. DAI Vol. lv (October 1994), p. 792A. A modest survey of these well-known masterpieces, stressing the balance between the piano and strings. 433. Chen, Chih-Chi. “A Performer’s Analysis of French Piano Quintets by César Franck, Vincent d’Indy, Camille Saint-Saëns, and Gabriel Fauré.” DMA dissertation, University of Cincinnati, 2002. DAI, lxiii (May 2003), p3781A. 165 pages. After a brief history of French chamber music from c.1850 to 1950, Chen devotes a chapter to each of the 4 composers. He includes historical background for each piece and then gives a traditional analysis. 434. Staples, James Gwynn, iii. “Six Lesser-Known Piano Quintets of the Twentieth Century.” DMA dissertation. University of Rochester, Eastman School of Music, 1972. UM 73–984. DAI xxxiii.7A, pp. 3701–2. v + 272 pages. A detailed description and a performer’s analysis of 6 piano quintets covering a wide range of countries and styles: Webern (1907), Louis Vierne (1917), Elgar (1918), Martinú (1944), Nicolas Medtner (1950), and Ross Lee Finney (1953). 435. Liao, Amber Yiu-Hsuan. “A Historical and Analytical Study of Selected Piano Quintets after 1950.” DMA dissertation. Manhattan School of Music, 2007. v + 104 leaves. A history of the piano quintet and its new direction in the 20th century. The new direction includes serialism, polystylistic writing, and patterns and their extension and recontextualization. To illustrate these, Liao discusses in detail specific quintets by Ginastera (Quintetto, Op. 29), Schnittke (Piano Quintet), and Feldman (Piano and String Quartet). See also 113. Other combinations of string instruments are also studied historically as genres. See 228 for a treatment of string chamber music in general.

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String Duos 436. Mazurowicz, Ulrich. Das Streichduett in Wien von 1760 bis zum Tode Joseph Haydns, in Eichstätter Abhandlungen zur Musikwissenschaft, Vol. I. Tutzing: Hans Schneider, 1982. ML 1122.M4.1982. ISBN 3-7952-0350-3. vii + 366 pages. The most important study of string duets. Mazurowicz includes an extensive thematic catalogue of such duets, organized by scoring (2 violins, violin + viola, violin + cello, alternate scoring, variations, dances, studies). It opens with a careful delineation of this repertory, including definition, categorization, and history. He compares the concepts of dialogue, concertant, and duet in terms suggested by Finscher, Trimpert, and Unverricht but reduced to 2 instruments. It is the alternation of dialogue and concertant in duets that is a characteristic here of Viennese duets. Mazurowicz includes Mozart’s and Michael Haydn’s duets as well as Pleyel’s, Vanhal’s, Wranizky’s, Boccherini’s, Albrechtsberger’s, and others. 437. Hausswald, Günter. “Barocke Kammermusik ohne Generalbass,” in Hausmusik, xxi (1957), 74–9. Considers Baroque duets where solo instruments play together without continuo. Hausswald looks at French and English, as well as German, examples. He stops at 1750 since after the mid-18th century other types of chamber music without keyboard developed that are much better known: violin duets, string trios, and string quartets. 438. Riehl, Wilhelm Heinrich von. “Viotti und das Geigenduett,” in Musikalische Charakterköpfe: ein kunstgeschichtliches Skizzenbuch, Band 2, 7th ed. (Stuttgart: J.G. Cotta-sche Buchhandlung, 1899), 151–82. ML 60.R551 (1st ed. 1853; 2nd ed. in 2 vols 1857; 4th ed. in 2 vols, 1868.) (2nd ed. in 3 vols, 1881), iii, 51–92. Points out how Viotti wrote these duets to express his pain at having been exiled twice—from revolutionary Paris and from anti-French London. In Riehl’s day the duets were used for teaching, played by teacher and student together, but Viotti did not write them as exercises. He wrote them as Hausmusik for himself, for artists and for amateurs. He points out the prevalence of duets in the late-18th century: even arrangements of whole quartets for 2 flutes. He considers also duets by Spohr, Moritz Hauptmann, and others. The last 4 pages deal with the role of women in Hausmusik—the necessity of women playing violin rather than piano. See also Daniel Mellado’s “A Study of 20th-Century Duets for Violin and Violoncello” 111.

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For guitar duets, see Guitar Review, No. 31 (May 1969), which includes Graham Wade, “An Historical Perspective of the Guitar Duo” (pages 7–8); John W. Duarte’s “Rational of the Guitar-Duo Form” (pages 9–11); and Duarte’s “The Future of the Guitar Duo” (pages 12–13). String Trios 439. Unverricht, Hubert. Geschichte des Streichtrios, in Mainzer Studien zur Musikwissenschaft, Band 2. Tutzing: Hans Schneider, 1969. ML 1165.U6. 363 pages, 36 facsimiles. Lengthy, well-documented, scholarly study of the string trio. The first concern is to distinguish it from the trio sonata of the mid-18th century and not to consider it merely (and incorrectly) the source for the string quartet. Unverricht uses aesthetic and social study to determine the historical importance of the genre. He studies the term “string trio” as it is used and the compositions themselves. He considers the end of the trio sonata, the dialogue trio, special scorings and the performance practices of the string trios 1750–75. Then, he proceeds to the main period (end of the 18th and 19th centuries) characterized by the grand trio, the concertante trio (1 or 2 upper instruments dominate), the brillante trio (virtuoso display), and Hausmusik or pedagogic trio (easy). Considers the social setting, including the trio as background to conversation, its elevation into art music for quiet audiences, and Hausmusik; cites contemporary descriptions of performances. Unverricht follows the trio as either Hausmusik or virtuosic music in the later-19th century, and the revival of string trios in the 20th century with radio and interest in early music. The large number of trios cited and large bibliography (38 pages) make this a major reference for the non-keyboard trio, and its discussions of the social roles of the trio make it also important for the history of chamber music in general. 440. Lippmann, Friedrich, and Hubert Unverricht. “Die Streichtrio – Manuskripte der Bibliothek Doria-Pamphilj in Rom,” in Studien zur italienisch-deutschen Musikgeschichte, viii, in Analecta Musicologica, ix (1970), 299–335. An inventory of string trios (2 violins + cello) in manuscripts from the last third of the 18th century, with themes of all movements and concordances. Composers include Boccherini, Pugnani, Antonio Campioni, Myslivecek, Giovanni Raimondi, Friedrich Schwindel, Mattia Stabinger, and Francesco Zannetti. 441. Liew, Robert Chee Yee. “The Guitar Chamber Trio from 1780–1830: Its Style and Structure.” PhD dissertation. Texas Technical University, 1983. UM 83–1460. DAI xliii.8A, p. 2489. vii + 176 pages.

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Shows the importance of the 6-string guitar c.1800, especially in chamber music and in trios. Liew chooses trios rather than larger ensembles for reasons of balance. The repertory is characterized by the use of conservative forms. 442. Fruchtman, Efrim. “The Baryton Trios of Tomasini, Burgksteiner, and Neumann.” PhD dissertation. University of North Carolina, 1960. LC Mic.60–6986. DA xxi.11, p. 3477–8. 118 pages + 105 pages of music. A detailed analysis of 3 sets of divertimenti, each containing 24 trios for barytone or violin, viola or violin, and cello, by Luigi Tomasini (1741–1808), and the 2 other composers. Fruchtman compares these to such trios at other courts; they are stylistically similar to other compositions of the time. Other String Chamber Music 443. Drüner, Ulrich. “Eine Sonderform des klassischen Streichquartetts: Quartette für Violine, zwei Bratsche und Cello,” in Das Orchester, xxvii (1979), 644–5. More than 60 quartets for violin + 2 violas + cello, written c.1760– c.1830 by such eminent composers as Albrechtsberger, Cambini, Giardini, Pleyel, and Carl Stamitz, which are unknown today. Drüner traces this scoring to many sonatas a quatro in 17th-century Austria and Germany (continuo instead of cello, sometimes a wind substituting for the violin). They may have been the source for the standard string quartet as well; the shortage of violists vis-à-vis violinists may have encouraged a violin to substitute for 1 of the violas. Gassmann may have been the first to adapt the 2-viola sonata to pre-Classical style. 444. Sieber, Tilman. Das klassische Streichquintett: quellenkundliche und gattungsgeschichtliche Studien, in Neue Heidelberger Studien zur Musikwissenschaft, Band 10. Bern: Francke Verlag, 1983. ML 1160. S54.1983. ISBN 3-7720-1526-3. 223 pages, 118 examples. Major though flawed study of the classical string quintet and to what extent it represents a genre distinct from the string quartet (but see negative review by George R. Hill, Notes, June 1985, 723–4). Sieber uses the works of over 40 composers of the time to establish its characteristics (besides Boccherini, Cambini, Brunetti, Pleyel, Beethoven, and especially Mozart there are many less well-known composers represented). The quintet is more varied, has thicker texture, and more contrast in tone color than the quartet. He traces the Italian

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quintet from the Italian concerto and the Austrian quintet from the divertimento (but Hill points to errors in listing as string quintets works that are really something else). He recognizes also a dialogue quintet in Italy, Austria, and Mannheim. A great many composers, quintets and their presumed forebears are discussed at length in order to disprove pejorative descriptions of the genre by Dahlhaus and Wiorra. The analysis is subject to errors. There is an extensive bibliography, which Hill criticizes for its neglect of non-German scholarship after 1970. 445. Bartels, Katrin. Das Streichquintett im 19. Jahrhundert, mit einem Notenbeiheft. Göttingen: Vandenhoeck & Ruprecht, 1996. 2 vols. ISBN 3-525-27814-4. MT140.B35.1996. Vol. I: 183 pages; Vol. II: 109 pages (musical examples). A major, carefully written contribution to the study of this kind of chamber music. Bartels questions whether or not the string quintet in the 19th century is a genre and how tied it is to the quintet masterpieces of the 18th century. There are 3 scorings: a string quartet with a second viola, or with a second violoncello, or with a string bass. There are also 3 styles: chamber, orchestral, and concertante. She then devotes a sub-chapter each to the string quintets of Beethoven, Schubert, Spohr, Onslow, Cherubini, Mendelssohn, Gade, Borodin, Anton Rubinstein, Karl Goldmark, Rheinberger, Bruckner, Brahms, Heinrich von Herzogenberg (1843–1900), Dvorák, Nielsen, and Glasunov. She analyzes the forms, the styles, and the treatment of the instruments. At the end, she summarizes the contributions of each composer and determines as far as possible whether or not the composer was consciously following a tradition of quintet writing established by his predecessors. She finds that the quintets of Mozart, Schubert, and, especially, Mendelssohn were the models for subsequent quintets and that there is a common quintet style; therefore, the string quintet can be considered a musical genre. A useful bibliography is included. For more on the string quintets of Mozart, see 1916. Some studies deal with a particular string instrument or a family of string instruments in relation to chamber music. A few of these follow. 446. Caffarelli, Francisco di. Gli Instrumenti ad Arco e la Musica da Camera. Milan: Ulrico Hoepli, 1894. ML 750.C12S7.1894. x + 235 pages. First considers the violin before 1600, then studies the basic types of 17th-century ensemble music (sonata, canzona, concerto, suite, various dances, chaconne, and passacaglia) and those up to Mendelssohn.

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Caffarelli mentions composers and their chief chamber works with several interesting lists (Italian violinists alphabetically up to Paganini’s time, German compositions for the violin generically from solo to octet). He gives some brief, non-technical analyses (Beethoven quartets), and a bibliography of violin treatises and Italian books on early music performance. Nothing here is unique or thorough, but it does show the extent to which Italians were aware of chamber music in 1894. Caffarelli includes a somewhat fantasy-like history of music and aesthetics and the special characteristics of the violin (it poses the antithesis of natural and learned qualities of violin performance and their application to music). 447. Tatton, Thomas James. “English Viola Music, 1890–1937.” DMA dissertation. University of Illinois, 1976. UMI 76–24188. DAI xxxvii.5A, p. 2489. 141 pages. Lionel Tertis, English violist early in the 20th century, encouraged his English compatriots to write works for viola, an instrument largely neglected in the 19th century. Over 50 English composers responded. Nearly all the works are chamber pieces. They fit into the following categories: works of artistic and lasting value, works of pedagogical interest, marginal works of interest primarily to violists, and novelties. Tatton discusses not only the pieces but performances, patrons, violists, and ensembles. He pays special attention to Tertis, and a list of viola works. See also 2562–2567. 448. Bacon, Analee Camp. “The Evolution of the Violoncello as a Solo Instrument.” PhD dissertation. Syracuse University, 1962. UMI 63–6735. DA xxiv.4, pp. 1642–3. 192 pages. Shows the development of the role of the cello from its earliest experimental introduction to its acceptance as an indispensable instrument in chamber music. Further, Bacon shows its evolution from a part of the continuo (where it arrived c.1600) to a solo instrument in the 18th century as the bass became more contrapuntal. 449. Planyavsky, Alfred. “Der Kontrabass in der Kammermusik,” in Österreichische Musikzeitschrift, xiii (1958), 57–63. Reviews the history of the string bass in instrumental music from c.1600 on, with special attention to the ambiguity of “bass” in the 17th and most of the 18th centuries ( = cello or string bass?). The quartet for 2 violins + viola + bass ( = contrabass or string bass) occurs in Mozart’s Serenata Notturna K. 239 and also in quintets for 2 violins + viola + cello + bass by Hoffmeister. He considers

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Haydn’s first symphony, which is also a cassation for 12 solo instruments including string bass. Mozart and Dittersdorf wrote for Pichlberger ( = Pischlberger), a string bassist. The Bassettl does not mean cello or string bass in Vienna. See also Webster 240–241. The string bass is important also in the early 19th century: Schubert’s Trout Quintet and others influenced by Dragone. Then, as the cello gained in popularity and virtuosity, the string bass was dropped from chamber music. Planyavsky ends with a brief survey of chamber music for string bass of the post-Schubert period up to the 1950s. 450. Scelba, Anthony. “The Art of the Arranger: An Analysis of the Creative Processes and Decisions Involved in Arranging Chamber Music.” Música Hodie, ii, Nos. 1–2 (2002), 38–52. Abstract in English and Portuguese. A brief plea for the inclusion of the string bass in chamber music. 451. Meyer, C. “Les manuscrits de luth du fond Fetis,” in Revue Belge de Musicologie, Vol. l (1996), 197+. This article deals with trios for lute and strings. There are also various combinations of winds and strings or winds and keyboard that merit special studies. 452. Funk, Vera. Klavierkammermusik mit Bläsern und Streichern in der 2. Hälfte des 18. Jahrhunderts, in Detmold-Paderborner Beiträge zur Musikwissenschaft, Band 5. Kassel/New York: Bärenreiter, 1995. ISBN 3-7618-1201-9. ML1104.F86. 250 pages. A study of ensemble works for piano with both wind(s) and string(s) written in the second half of the 18th century and in print (either then or more recently). Flute, violin, violoncello with piano is the most common mixed ensemble, but also works with violin or flute as alternatives. In analyzing the pieces, special attention is given to the connection between sound color and voice leading (texture). Funk considers compositions originally written for the mixed ensemble (keyboard with at least 1 string instrument and at least 1 wind instrument) and those that are arrangements for mixed ensemble of symphones (especially Haydn’s Miracle Symphony) and operas (Mozart-Lachnith Magic Flute and Grétry’s L’Amitié à l’épreuve). 453. Adams, Sarah Jane. “Quartets and Quintets for Mixed Groups of Winds and Strings: Mozart and his Contemporaries in Vienna, c1780–c1800.” PhD. dissertation. Cornell University, 1994. DAI Vol. lv (1994), p. 786A. ML1122.8.V5A33.1994a. xiv + 356 pages.

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A description of the repertory, its publication, its reception, its structure, texture, and form, and the concept of “concertante.” The final chapter focuses on Mozart’s contributions in mixing winds and strings in chamber music settings. Adams places the mixed compositions within their social context and makes observations on style. 454. Rau, Ulrich. Die Kammermusik für Klarinette und Streichinstrumente im Zeitalter der Wiener Klassik. PhD dissertation. Saarbrücken, 1975, printed in 1977. 1 vol. DAI, xlii, 4, p. 692. 622 pages. Rau points out that this is a major repertory of the time. He considers in volume I the clarinet quintets of 3 regions of Europe; Mannheim, Paris, and Vienna. In volume II he considers the overall history of the genre, stylistic elements, and the peculiarities of the clarinet. He covers the period 1770 to 1830. He considers also other areas of Germany and a few foreigners outside Paris. 455. Alexander, Peter. “A Structural and Stylistic Study and Performance of Selected Twentieth-Century English Works for Clarinet and Piano.” EdD dissertation. Columbia University, 1982. UMI 82–23091. DAI xliii.5A, p. 1337. 122 pages. An analysis of 4 works for clarinet + piano by John Ireland (FantasySonata), William Alwyn (Sonata), Alan Rawsthorne (Concerto), and Arnold Bax (Sonata). These 4 works treat sonata form differently and require different techniques for the clarinetist. This dissertation is aimed at the professional and collegiate clarinetist. 456. Hinson, James McCardell. “A Stylistic Analysis of Three Selected Trios for Clarinet, Viola, and Piano: Fairy Tales by Robert Schumann, Eight Pieces by Max Bruch, and Kleines Konzert by Alfred Uhl.” DMus dissertation. Florida State University, 1995. DAI Vol. lvi (February 1996), p. 2927A. 125 pages. After biographical sketches of Bruch and Schumann during the period when they wrote their trios and a more comprehensive biography of Uhl, there is a formal and stylistic analysis of the pieces. 457. Osborn, Thomas Montgomery. “Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900–1960 for Two to Five Performers.” DMA dissertation. University of Southern California, 1964. UMI 64–13504. DA xxv.9, pp. 5323–4. 404 pages. Classifies chamber music as Romantic (Classical-Romantic, lateRomantic, or post-Romantic), revolutionary (impressionistic or expressionistic), or anti-Romantic (national-folk, neo-Classic, neo-Baroque, composite, or abstract). Osborn considers the repertory historically

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and notes unusual combinations of instruments as well as chamber vocal music with clarinet. 458. Crossen-Richardson, Phyllis Jane. “Selected Clarinet, Cello, and the Piano Trios: Unknown or Forgotten.” DMA dissertation. University of Maryland College Park, 2004. DAI, lxv (August 2004), p335A. v + 66 pages. Discussion of works by Robert Muczynski, Rudolf Johann Joseph Rainer, Daniel Lochrie, Louise Farrenc, Nino Rota, Anton Eberl, Carl Frühling, Henryk Górecki, and Steven Dankner. 459. Anderson, Marcia Hilden. “A Survey of Twentieth-Century Finnish Clarinet Music and an Analysis of Selected Works.” PhD dissertation. Michigan State University, 1975. UMI 75–20808. DAI xxxvi.3A, pp. 1151–2. 172 pages. Examines the role of the clarinet in Finnish music (primarily a military band instrument until, c.1920, it found its way into classical music). Anderson considers 22 of the over 60 clarinet works published and unpublished by Finnish composers and gives detailed analyses of 3 that are typical: Erik Bergman (Three Fantasias, 1954, clarinet + piano), Pentti Raitio (Elegia Sooloklarinetille, 1966), and Aarre Merikento (Konzert für Violine, Klarinette, Horn, und Streichsextett, 1925, second movement). Most works considered are either part of woodwind quintets or quintets for clarinet and piano. 460. Fryer, Cheryl A. “An Annotated Bibliography of Selected Chamber Music for Saxophone, Winds and Percussion with Analyses of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull.” DMA dissertation. University of North Texas, 2003. DAI lxv (July 2004), p14A. vii + 80 pages. A practical catalogue for saxophonists who wish to participate in chamber music. Although only 2 pieces are analyzed in detail and only 12 others are in the annotated bibliography, Fryer provides dozens of further examples of chamber music with saxophone in various charts and in her history of the genre. 461. Eagle, David William. “A Constant Passion and a Constant Pursuit: A Social History of Flute-Playing in England from 1800 to 1851.” PhD dissertation. University of Minnesota, 1977. DAI xxxviii.12A, pp. 7011–12. 241 pages. Shows the various social implications of flute playing by the middle and upper classes in England. Even George III was a flutist. 462. Harriss, Elaine Atkins. “Chamber Music for the Trio of Flute, Clarinet, and Piano: a Bibliographical and Analytical Study.” PhD dissertation.

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University of Michigan, 1981. UMI 81–25122. DAI xlii.6A, p. 2353–4. 160 pages. Analyzes form, style, harmony, rhythm, melody, texture, and scoring in 108 such works, which are graded according to technical difficulty. Some historical background is given for each piece and composer. There is general discussion of the genre. The list includes arrangements. For a brief historical sketch of the flute quartet (flute + violin + viola + cello) of the second half of the 18th century, see Marion Valasek’s dissertation 2585. 463. Meyer, W. Frederick. “Oboe Quartets from ca.1750–ca.1825.” DMA dissertation. University of Rochester, Eastman School of Music, 1973. UM 73–24058. DAI xxxiv.4A, pp. 1953–4. xi + 116 pages. Examination of the oboe + violin + viola + cello repertoire and its history, with analysis of 4 examples by Gassmann, Luigi Gatti, Jan Adam Frantisek Mica, and Mozart. Meyer provides a practical edition of the Gassmann piece. He considers the viability of the medium and different seating arrangements for the performers. An appendix provides a list of oboe quartets in modern edition. See Craig’s dissertation 1443 for another overall history of the oboe quartet. For chamber music with trumpet and other non-brass instruments, see 384–385 and 398. In the 17th and early-18th centuries, there were special kinds of chamber music that received specialized historical study. For discussions of the Italian canzona, sonata, and ricercar, see “Italy” under the nationalities below. For discussions of the English fantasia and fantasia suite, see “England” below. 464. Cortner, Larry Lee. “Thirteen Chorale Preludes for Organ and Obbligato Instrument, Leipzig Poel. Mus. Ms. 364/2.” MDA dissertation. University of Rochester, Eastman School of Music, 1978. 124 pages. A history and scholarly edition of 12 organ trios with chorale cantus firmus in long notes by the obligato instruments (oboe, oboe d’amore, horn, and trombone). This is similar to works by Johann Ludwig Krebs and Gottfried August Homilius. 465. Cutts, Paul. “Lofty Ambitions (the Organ as a Chamber-Music Instrument).” Choir & Organ, viii (January–February 2000), 9–11. See Van der Meer in 675 466. Stoltzfus, Ila Hartzler. “The Lyra Viol in Consort with Other Instruments.” PhD dissertation. Louisiana State University, 1982. DAI xliii.8A, p. 2491. 248 pages.

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An historical and analytical study of English suites by 5 composers of the mid-17th century for a consort of a treble instrument, lyra viol, bass viol, and either a theorbo or harpsichord. 467. Coates, William. “English Two-Part Viol Music, 1590–1640,” in Music and Letters, xxxiii (1952), 141–50. Discussion of 31 pieces for 2 viols in a Cambridge University manuscript of the 1630s. Coates reduces some of the analyses to charts. 468. Cohen, Albert. “The Fantaisie for Instrumental Ensemble in 17thcentury France – its Origin and Significance,” in The Musical Quarterly, xlviii (1962), 234–43. The French fantaisie flourished in the first half of the 17th century, largely influenced by the English fancy but containing its own peculiarities. Sometimes for keyboard, sometimes for an ensemble of viols (solo or doubled?), it also was frequently performed simultaneously by both. This is a scholarly article. 469. Sadie, Julie Anne. The Bass Viol in French Baroque Chamber Music, in Studies in Musicology, No. 26. Ann Arbor: University Microfilms International, 1980. ML 760.V56582. ISBN 0-8357-1116-1. xiii + 189 pages, 19 musical facsimiles, 6 pictures, 83 musical examples. A scholarly study aimed at acquainting bass viol players with the French repertoire c.1690s to 1740s. It defines chamber music as both instrumental and vocal. Sadie considers the bass viol as a solo chamber instrument as well as part of the continuo. She compares the bass viol to the cello. There is a huge bibliography. 470. Dunn, Stephen Jack. “Trumpet and Percussion Chamber Music for Two or Three Players: an Annotated Bibliography.” DMA dissertation. Arizona State University, 2001. DAI, lxii (December 2001), p1977A. v + 197 pages. Includes 85 works written from 1960 to 2000 involving either 1 trumpeter and 1 percussionist or 1 trumpeter, 1 percussionist, and 1 additional performer. 471. Lapie, Raymond. “French Chamber Music with Trombone (1795–1924): Bibliographical Notes.” ITA Journal, xxx (October 2002), 32–6, 39–43, 45. An historical survey of the use of the trombone in trombone ensembles, brass ensembles, and ensembles of strings and/or winds that include the trombone. At the end, there is a bibliography of these works. The article is footnoted.

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STUDIES OF THE CHAMBER MUSIC OF PARTICULAR REGIONS OF THE WORLD While many studies of particular genres, composers, and individual works inevitably focus on a particular city or country, there are some that dwell on the location as important in itself. Especially Austria, Italy, Germany, and France are the sites of much of the literature in this book; only the most relevant in their cases will be listed below. A few works discuss the chamber music of a number of different countries as separate chapters (see Hemel 197 and Reclam 218). Africa 472. Stahmer, Klaus Hinrich. “Mit Papa Haydn am Kilimandscharo: Afrikanische Streichquartette.” Neue Zeitschrift für Musik: Das Magazin für neue Töne, clxvii No. 5 (September–October 2006), 18–23. Albania 473. Kukumi, Klarita. “A Survey of Piano Chamber Music by Albanian Composers, 1970–2000.” DMA dissertation. Arizona State University, 2006. DAI, lxvii (May 2007), p. 4032A. xiv + 172 pp. After a review of the history of Albania and its music and an evaluation of previous studies on Albanian music, Kukumi presents historical background and a description of a select number of pieces of chamber music by recent Albanian composers: Çesk Zadeja, Lejla Agolli, Feim Ibrahimi, Thoma Simaku, and Shpe˘ tim Kushta (duos for 1 instrument and piano); Limoz Dizdari and Tonin Harapi (piano trios); and Kushta, Endri Sina, Vasil Tole, and Alexsandre˘ r Peçi (trios and quartets with mixed instrumentation). Most Albanian chamber music is in manuscript in the library of the Academy of Arts in Tirana. Armenia 474. Ter-Simonyan, Margarita. Kamerno-instrumental’naya Ansamblevaya Muzyka Armenii. Erevan: Akademiya Nauk Armyanskoy SSR, 1974. ML 1151.A7T47. 155 pages. In Russian. Armenian chamber music both before and after merger with the Soviet Union. Ter-Simonyan names performers who perform standard classics and mid-20th-century Armenian composers of chamber music such

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as Edward Merzoyan, Arno Babadzanian, and Edgar Oganesian (on whom the book concentrates). She discusses folk music influences on the chamber works of those 3 composers. This book is written for scholars and laypersons. Australia 475. Ball, Martin. “Landscapes and Soundscapes: Australia Is a Hotbed of New String Quartet Writing.” The Strad, cxv (July 2004), 702–4, 707. Brief discussions with contemporary Australian composers Brett Dean, Carl Vine, Peter Sculthorpe, Richard Meale, Elena Kats-Chernin, Liza Lim, David Young, Louisa Bufardeci, and Raffaele Marcellino about their string quartets. Ball lists 9 other composers. See 58 and 2615. Austria 476. Vaillancourt, Michael Grant. “Instrumental Ensemble Music at the Court of Leopold I (1685–1705).” Ph.D. dissertation. University of Illinois, 1991. iv + 555 pages. After describing the performance situations and the music itself for outdoor ceremonies, church rites, and table music at the Austrian court from 1685 to 1705, Vaillancourt focuses on chamber music in Chapter 7 (pages 226–69) where the location is the defining point, not the nature of the music. Although hard to document, these private concerts often were connected with literary academies under Italian influence where music was played for the members rather than, as earlier, by the members. Featured chamber music composers during these 2 decades were Antonio Bertali, Johann Heinrich Schmelzer, and Ignazio Albertini (d. 1686), as well as the popular Fux who, however, is represented by symphonic music. Other chamber music (sonata da chiesa) is discussed elsewhere in the dissertation. Another study of 17th-century Vienna is Zink’s dissertation, 1088. 477. Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant (NY): Pendragon Press, 1989. ISBN 0-9187-2883-5. ML246.8.V6M87.1989. xxii + 552 pages. In the course of her discussion of private concerts (not listed in the index), Morrow mentions various chamber music performances,

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giving the social situations in which they occurred. The book is the reprinting of the public concert calendar from 1761 to 1820, which is indexed by person. 478. Biales, Albert. “Sonatas and Canzonas for Larger Ensembles in Seventeenth-Century Austria.” PhD dissertation. UCLA, 1962. 2 vols. I: viii + 215 pages; II: 31 pages of music. Concerned with ensembles larger than trio sonatas and with the music of Italian, Austrian, and other composers writing in Austria in the 17th century. It is unclear whether Biales is describing chamber or orchestral music—perhaps the same music could be performed either way. He divides the composers into 2 periods: I: Period of Italian dominance (1600–1678), with Giovanni Prioli, Francesco Sivori, Steffano Bernardi, Giovanni Valentini, Giovanni Battista Buonamente, Antonio Bertali, Paul Peurl, and William Young; and II: The Emergence of Austria as an international influence (1679–1700), with Johann Heinrich Schmelzer, Heinrich Biber, Georg Muffat, Alessandro Poglietti, Ferdinand Tobias Richter, and Pietro Andrea Ziani. After giving the history of the period, he gives an analysis of form, instrumentation, concerto elements, harmony, melody, and rhythm. The divertimento in 18th-century Austria is important for future types of chamber music as well as in its own right. 479. Gibson, O. Lee. “The Serenades and Divertimenti of Mozart.” PhD dissertation. North Texas State College, 1960. UMI 60–1791. DA xxi.3, pp. 638–9. 394 pages. Study of the serenade and divertimento and their equivalents in Vienna and Salzburg and to a lesser extent in Mannheim during the 18th century with reliance upon the works available in Denkmäler der Tonkunst in Österreich. Then Gibson concentrates on Mozart’s contributions (including cassations, notturni, and marches as well). He considers scoring, and title. He tries to understand the evolution of Austrian Gesellschaftsmusik in the second half of the 18th century. 480. Henrotte, Gayel Allen. “The Ensemble Divertimento in Pre-classic Vienna.” PhD dissertation. University of North Carolina, 1967. UMI 68–6740. DAI xxviii.12A, p. 5091. 828 pages. Discusses 29 divertimenti by Giuseppe Porsile (1680–1750), Matthias Georg Monn (1717–50), Johann Christoph Mann (1726–82), and Franz Asplmayr (1728–86). He regards these divertimenti as chamber music, not orchestral, and considers them “as an adjunct to aristocratic social life, as a medium historically oriented between the suite

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and the string quartet, and as an instrumental cycle in the transition from Baroque to Classical music.” 481. Meyer, Eve Rose. “Florian Gassmann and the Viennese Divertimento.” PhD dissertation. University of Pennsylvania, 1963. UMI 63–7068. DA xxiv.12, pp. 5453–4. 337 pages. Finds that the term “divertimento” was primarily a Viennese one, and that Gassmann’s 32 divertimenti, which are found in foreign sources, are usually labelled instead sonata, trio, or quartet. Meyer recognizes the chamber music quality of Gassmann’s divertimenti, but also the possible small orchestral performance. Thirteen divertimenti are trios for strings or flute + strings, 10 are string quartets, and 9 are for oboe + strings—no continuo included or needed. All the pieces are in 3 movements, most start slowly, and only 21 contain a minuet. They are in binary form and rudimentary sonata form. Meyer compares Gassmann’s works to those by the Haydn brothers, the Mozarts (father and son), Mann, Dittersdorf, Starzer, and others. See also 63, 234, and 239. Vienna continues as a center of chamber music in the 19th and 20th centuries. 482. Hanson, Alice Marie. Musical Life in Biedermeier Vienna. Cambridge/ New York: Cambridge University Press, 1985. ML246.8 V6H25.1985. xi + 241 pages. Chapters 4 (pages 82–108) and 5 (pages 109–26) cover music in Vienna 1815–30 in public concerts and in the salons. Yearly, there were on average about 100 concerts. Hanson gives all the economic and social conditions for concerts, some of which included chamber music performances. He contrasts Beethoven and Paganini concerts. Salon concerts were frequent social activities, usually performed by the family, friends, and guests, but aristocratic homes could afford virtuosi like Thalberg and Paganini. As aristocratic house concerts declined, new ones from the middle class and Jewish bankers took over. For more on Biedermeier Vienna, see 708. 483. Hanslick, Eduard. Geschichte des Concertwesens in Wien. 2 vols. Vienna: Wilhelm Braumüller, 1869–70. Reprint Westmead: Gregg International, 1971. ML 246.8.V6H2.1971. I: xv + 438 pages; II: xii + 534 pages. Invaluable historical descriptions of many facets of chamber music in one of the most important centers of chamber music in Europe. It

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includes such topics as the rise of dilettante concerts in rented rooms of inns in Germany and Vienna during the later 18th century, reviews of concerts by the Hellmesberger Quartet, Jansa’s Quartet Evenings, comparison of the Müller and Hellmesberger Quartets, quartet evenings in 1856, chamber music by Rubinstein, Chopin, Beethoven (Op. 133), and Schumann (Violin + Piano Sonata in D minor), and much besides. Hanslick provides insight into Viennese tastes in the mid-19th century and the sensitive and sensible criticism of the leading music critic of the 19th century. He also includes some chamber music concerts in London (1862), Paris (1860 and 1867), and Switzerland (1857). He criticizes repertoire and performance practices. This study is continued in Concerte, Componisten und Virtuosen der letzten fünfzehn Jahre 1870–1885. 3rd ed. Berlin: Allgemeiner Verein für Deutsche Litteratur, 1896. 1st ed. 1885. 780.4 H24c. xvi + 448 pages. It includes reviews in Vienna 1870 to 1884, with premiers of Brahms’s, Dvorák’s, and the famous chamber works of other composers. 484. Sullivan, Elizabet Way. “Conversing in Public: Chamber Music in Vienna, 1890–1910.” PhD dissertation. University of Pittsburgh, 2001. DAI, lxii (November 2001), p. 1635A-6A. xii + 258 pp. A thorough study of the political climate in Vienna during the 2 decades 1890–1910 and the performance of public chamber music, which replaced Hausmusik. Because chamber music was regarded as elitist and cultivated by the liberal intelligentsia, the anti-Semitic nationalists were highly critical. Sullivan scours the newspapers and journals of the time to size up the reactions of the public as well as the critics themselves. She also considers the reaction of the Viennese to the use of a programmatic title to the Smetana “From My Life” Quartet. The appendices give valuable information on the leading ensembles of the time (Hellmesberger, Rosé, Soldat-Röger, Fitzner, Winkler, Prill, Czech, Brussels, and Sevcˇ ik), their repertory, women pianists performing with the ensembles, Dvorák’s chamber works performed, and Russian chamber works performed. The specific situation of the Czech Quartet in Vienna at this time is dealt with in the article “Nineteenth-Century Music.” 485. Riedel, August. “Hausmusik in Wien vor 50 Jahren,” in Musikerziehung, iii (1950), 232–5. Defines Hausmusik as chamber music a1–10 for friends who play music (“ausübende Musikfreunde”). Riedel gives a good summary of the extraordinary cultivation of chamber music in Vienna 1900–1950: the outstanding professionals provided models for the Hausmusikanten. He names important amateurs, such as Theodor Hämmerle, cellist, whose circle played together 844 times.

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See also 217 for Austrian chamber music between World War I and World War II. For Austrian string quartets in the 20th century see 275. 486. Samohyl, Franz. “Kammermusik in Wien,” in Österreichische Musikzeitschrift, xiii (1958), 187. A very brief comparison between Viennese chamber music groups and foreign ones. Foreign groups dedicate themselves to chamber music at an early age and begin their careers with government help. Viennese groups are formed by performers who first establish solo or orchestral careers and who struggle to get performances. The result is that Viennese groups are more musically universal. For guitar chamber music in Vienna, see 179. 487. Heller, Friedrich C. and Peter Revers. Das Wiener Konzerthaus: Geschichte und Bedeutung 1913–1983. Vienna: Wiener Konzerthausgesellschaft, 1983. ML 246.8 V62W23.1983. 248 pages. A history of this important concert hall in Vienna, with appendices listing festivals and concerts with programs. These lists include many chamber music concerts, some world premiers (including Hindemith’s String Quartet Op. 32 in 1932 and Sonata for 4 Horns in 1953), Viennese premiers, performance societies-series, and photos of floor plans of, among other things, the smaller chamber halls. Azerbaijan 488. Kuliev, Tokhid. Azerbaidzhanskaia Kamerno-Instrumental’naia i Kontsertnaia Muzyka dlia Smychkovykh Instrumentov. Baku: Azerneshr, 1971. ML 1137.K84. 126 pages. In Russian. A study of chamber and concert music for string instruments in the Soviet state of Azerbaijan and a list of sonatas, piano quartets, string quartets, and other chamber music by Azerbaijanis. This is a history that concentrates on genres (sonatas, piano trios, quartets, and also string concertos); analysis proves their folk roots. Belgium 489. Delaere, Mark, and Joris Compeers. Flemish String Quartets since 1950: Historical Overview, Discussion of Selected Works and Inventory. [Belgium]: Matrix-New Music Documentation Centre, 2004. ISBN: 9077717013. 76 pages. Includes a CD with 10 excerpts from the 13 quartets discussed in the text.

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A discussion of 13 quartets written between 1961 and 2003 by Luc Brewaeys, Boudewijn Buckinx, Peter Cabus, Claude Coppens, Raoul De Smet, Koen Dejonghe, Frans Geysen, Lucien Goethals, Karel Goeyvaerts, Walter Hus, Piet Swerts, Luc Van Hove, and Wilfried Westerlinck. See also 2743. Brazil 490. Andrade, Silvano Rodrigues de. “Trio T-12 de Brenno Blauth e Trio de Cláudio Santoro: Um estudo sobre duas concepções de música de câmara brasileira.” MM thesis. Universidade Federal de Goiás, 2003. Review: Música Hodie iii, Nos.1–2 (2003), 123. See 10 and 2370–2371 Bulgaria 491. Krustev, Venelin. Bulgarian Music. Trl. Jean Patterson-Alexieva. Sofia: Sofia Press, 1978. HML 196.60.6. 308 pages. Several chapters on Bulgarian chamber music in terms of communist ideology. 492. Stojanov, Penco. “Bulgarian Instrumental Chamber Music since 9 Sept. 1944,” in Krum Angelov, ed., Sovremennaja Bolgarskaja Muzyka. Moscow: Muzyka, 1974. RILM 76–5961. In Russian. Not seen. See also 859. Canada 493. Adeney, Marcus. “Chamber Music,” in Ernest MacMillan, Music in Canada. Toronto: University of Toronto Press, 1955. ML 205.M3. Pages 114–25. Chronicle of 19th- and early 20th-century performance of chamber music in (mostly Eastern) Canada and the performers. It goes up to 1954. Without footnotes, bibliography or other documentation, it will be easy to read the layperson, but frustrating for the scholar. 494. Loudon, J.S. “Reminiscences of Chamber Music in Toronto during the Past Forty Years,” in Canadian Journal of Music, i (1914), 52–3.

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Brief survey of chamber music in Toronto before 1871, then reminiscences from 1871 to 1914, by an amateur violinist, of the hardships in organizing chamber music. Cellists were hard to find, but then became plentiful. This brings Loudon to the Toronto String Quartet (1908ff)—the first professional quartet in Upper Canada— the Hambourg Concert Society Trio (1911), and the Academy String Quartet (1913). He recalls touring United States quartets (Boston Quintet to the Flonzaley and Kneisel). 495. Bridle, Augustus. “Chamber Music in Toronto,” in The Year Book of Canadian Art 1913 (London/Toronto: J.M. Dent & Sons, [1913?]), pages 143–8. N9.Y3. A history of chamber music in Toronto, not so old as in Montreal. String quartet playing goes back only to c.1900, and only takes hold with the Toronto Quartet (whose repertory was Beethoven, Mozart, Haydn, Dvorák, Arensky, Tchaikovsky, Debussy, and Hugo Wolf). It was a good ensemble, but it had a long way to go; it had a following by a discriminating audience. 496. Canadian Music Centre. Canadian Chamber Music: Musique de Chambre Canadienne. 2nd ed. Toronto/Montreal/Calgary/Vancouver: Canadian Music Centre, 1980. ML 120.C2C28.1980. ISBN 0-9690836-4-5. No pagination (1738 items + indices). 1st ed. Catalogue of Chamber Music Available on Loan from the Library of the Canadian Music Center. Catalogue de Musique de Chambre Disponible … la Musicothèque du Centre Musical Canadien. Toronto: Canadian Music Center, 1967. 288 pages, discography, bibliography. In French and English. A catalogue of chamber music scores, parts, and a few recordings by Canadian composers: some published, some in manuscript. The scores and parts may be borrowed or rented but not the recordings. The catalogue gives brief biography of the composer, title, scoring, movement titles or tempos, difficulty, duration, date of composition, date, place, and performers of premier, recording information if any, publishing data or manuscript location, and several sentences describing the style, program, and/or techniques employed. At the end, it includes a brief history of Canadian music. 497. Elliott, Robert William Andrew. “The String Quartet in Canada.” PhD dissertation. University of Toronto, 1990. vi + 351 pages. A history of the string quartet in Canada from 1790 to 1989. The first part deals with the ensembles, while the second part deals with the compositions: conservative, innovative, and a mixture of both. Some 370 compositions, with information about them and where to find the scores, are listed in the appendix. An additional appendix

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gives reviews of performances of Schoenberg’s Op. 7 String Quartet in Toronto in 1915 and 1935. For a discussion of some Canadian string quartets, see Horace McNeal’s dissertation 757. For a discussion of contemporary Canadian sonatas for violin + piano, see William Lister’s dissertation 337. China 498. Huang, Wei-Der. “Solo Piano and Chamber Music of Contemporary Taiwanese Composers.” DMA dissertation. University of Maryland College Park, 2001. Includes CD. DAI, lxii (January 2002), p2281A. 115 pages. A brief history of Western-oriented music by Taiwanese composers in the 20th century. The main part of this dissertation was recitals of 15 chamber and solo piano music by 9 Taiwanese composers, which then are discussed in the written thesis. See also 2265 and 2422. Croatia 499. Andreis, Josip. Music in Croatia, trl. Valdimir Ivir. Zagreb: Institute of Musicology–Academy of Music, 1974. HML. xv + 416 pages. Most of the book deals with the 19th and 20th centuries. It includes frequent references to the chamber music of important Croatian composers such as Milo Cipra (b.1906), Josíp Slavenski (1896–1955), Krsto Odak (1888–1965), the violinist Djuro Eisenhuth (1841–91), and Ivan Zajc (1832–1914). Czechoslovakia See Lipphardt in 675, pages 115–25, Zdenka Pilková’s “Die böhmischen Länder als Pflanzstätte der Kammermusik” in 717, and Fleischhauer in 213. 500. Feldgun, G.G. Cessky kvartet v processe razvitiya europeiskoi muzyki (XVII–XIX veka) [The Czech string quartet in European 17th- to 19th-century music]. Novosibirsk: Novosibirskaia gos. Konservatoriia im. M.I. Glinki, 1993. ML1160.F45. ISBN 5-7196-0468-5. 255 pages. In Russian. A general history of the string quartet with emphasis on the contribution of Central European composers and with separate chapters

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on Smetana and Dvorák. The author’s bibliography is limited to works in Russian and German (albeit very important works), without any reference to English-language contributions to the history of the string quartet. It cites composers of quartets often ignored in other histories of the quartet literature, such as Frantisek Adam Mica (1746–1811), Leopold E. Mechura (1804–70), Franteshek Kramarcz (Franz Krommer) (1759–1831), Karel Bendl (1838–92), Zdenek Fibich (1850–1900), Josef Bohuslav Foerster (1859–1951), Vitezslav Novák (1870–1949), F. Z. Sacharskog (1830–92), Karel Kovarovic (1862–1920), and I. Syaka (1874–1935). 501. Schwarz, Erwin. “Quartette und Kammerorchester in der Tschechoslowakei,” in Das Orchester, xv (1967), 197–200. Records the amazingly large number of Czech ensembles since World War II. By the early 1950s, there were already 11 famous string quartets. Czechs are conservative performers, as opposed to Poles who are avant garde composers. Schwarz starts with the quartets, trios and quintets, and then deals with chamber orchestras. 502. Prochazka, Rudolph Ludwig Franz Ottokar, Freiherr von. Der Kammermusikverein in Prag: Denkschrift zur fünfzigjährigen Gründungsfeier. Prague: A. Haase, 1926. ML 247.8P6P62. 92 pages + 4 pages addenda and corrections for the second printing in January, 1927. The history of this chamber music society from its forebears to its founding in 1876 to its 50th year. The book gives a discussion of the works and their interpreters: composers, soloists, and ensembles. The Rosé Quartet frequently performed, also Joachim, David Popper, Bohemian and Busch Quartets, Reger, Sevcˇ ik, and many others. 503. Boublik, Jan. “Czech Chamber Ensembles,” in Music News from Prague, No. 6–7 (1977), 4–5. A listing in essay form of string chamber groups in Czechoslovakia since World War II. Among string quartets have been the Czech, Ondricek, Smetana, Vlach, Janácˇ ek, Dvorák, Prague, Talich, Panocha, Kocian, and Dolezal. Also some trios are listed. 504. Balek, Jindrich. “Czech Chamber Ensembles.” Czech Music, iii (2006), 8–16. Starting with a brief description of the founding of the original Czech String Quartet in 1891 and the Czech Society for Chamber Music in 1894, Balek jumps ahead and gives some basic information about the important Czech quartets since World War II: Smetana Quartet, . Vlach Quartet, Janácˇ ek Quartet, Prague Quartet, Prazak Quartet, Wihan

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Quartet, Talich Quartet, Stamic Quartet, S´kampa Quartet, New Vlach Quartet, Kaprálová Quartet (originally the Venus Quartet), Pavel Haas Quartet, Bennewitz Quartet, and Zemansky Quartet, as well as 3 trios (Suk Trio, Guarneri Trio Prague and Smetana Trio), several chamber orchestras, and several other ensembles with winds. This is not an exhaustive study but an introduction to the large number of chamber music ensembles in Czechoslovakia. See also Pilka 2614, Kurajdova 2769, and Brunn 195. Danzig 505. Kessler, Franz. Danziger Instrumental-Musik des 17. und 18. Jahrhunderts. Stuttgart: Hänssler-Verlag, 1979. NYPL JMF81–207 ISBN 3-77510440-2. xiv + 217 (music) + xviii pages. The foreword gives a history of instrumental music in Danzig, as performed publically in halls, churches or towers, or privately for weddings, Tafelmusik or for enjoyment with professionals and amateurs mixing. Kessler gives 10 pieces by Danzig composers: sonatas, canzonas, 1 concerto, and some other pieces of chamber music. The book contains large and beautiful illustrations. Denmark See Kai Brunn’s Kammermusik 195, Vol. iii, pages 170–8. 506. Winkel, Erling. “En Redego relse for dyrkelsen af Kammermusik i Danmark; anden halvdel af det 18.årh., samt en underso gelse af form og stil i de egentlige denske kammermusikvaerkor fra naevnte periode.” MA thesis. University of Copenhagen, 1940. 507. Kammermusikforeningen. Kammermusik i Hundrede ar: 1868 – 5. December – 1968. Copenhagen: Nyt Nordisk Forlag, 1968. ML 1142.K35. 204 pages. A history of the chamber music society of Copenhagen on its centennial with numerous photos and descriptions of its members, performers, concerts, programs, and organization. There is a detailed list of all compositions played during the 100 years, alphabetically arranged by composer, and then by title. There are also other statistics—most often played works and most often played composers— no surprises here. Also, the book gives a list of performers by instrument and alphabetically (includes Grieg, Schnabel, Fritz Busch, Anton Svendsen, Carl Nielsen, Hindemith, and numerous local persons)—both members and guests.

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508. Fabricus, Lars Borge. Traek af Dansk Musiklivs Historie m.m. Omkring etatsraad Jacob Christian Fabricus’ Erindringer. Copenhagen: Nyt Nordisk Forlag Arnold Busck, 1975. RILM 76–10405. xii + 603 pages. In Danish. Investigates mid-19th-century musical life in Copenhagen as revealed in the memoires of Fabricus, Titular Councilor of State. Among others, Fabricus sheds light on the Vega Chamber Music Society c.1865–70. 509. Anon. “The Danish String Quartet,” in Dansk Musik Tidsskrift, lxix (1994–5), 65. England 510. Harper, John. “Ensemble and Lute Music,” in The Blackwell History of Music in Britain, ii: The Sixteenth Century, ed. R. Bray (Oxford: Blackwell, 1995), 263–322. The most up-to-date history of English chamber music in the 16th century, with extensive endnotes. It presents the basic issues: vocal or instrumental performance of polyphony, foreign influences, whole versus broken consorts, the forms, styles, and textures. 511. Edwards, Warwick A. “The Performance of Ensemble Music in Elizabethan England,” in Proceedings of the Royal Music Association, xcvii (1970–1), 113–23. Edwards cites an early 17th-century manuscript that gives 4 kinds of ensemble music: viol music, consort music, wind music (oboes and recorders), and wind music requiring “more lung power.” Function and social class of the performers are 2 additional classifications. In nomines flourished early in Elizabeth’s reign. The actual music is harder to find; textless polyphony may have been sung, though Edwards assumes that most textless pieces were played by instruments from the mid-16th century onward. Very little appeared in the last quarter of the 16th century. Edwards looks at music education and the role of chamber music in it. Viol ensembles, originally only in the upper classes, became popular among others c.1600. 512. Edwards, Warwick A. “The Sources of Elizabethan Consort Music.” Ph.D. dissertation. University of Cambridge, 1974. 513. Meyer, Ernst Hermann. English Chamber Music: The History of a Great Art from the Middle Ages to Purcell. London: Lawrence and Wishart, 1946. Reprint New York: Da Capo, 1971. ML 1131.M48.1971. German trl. by Gerda Becker, Die Kammermusik Alt-Englands: vom Mittelalter bis zum Tode Henry Purcells. Leipzig: Breitkopf &

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Härtel, 1958. xiv + 318 pages. 2nd ed.: Early English Chamber Music from the Middle Ages to Purcell. London: Lawrence and Wishart, 1982. ML 48.1982b. xvii + 363 pages. The classic scholarly study of English consort music of the 16th and 17th centuries. The study relates this music to other types (vocal and religious) and to the social environment (the popular element is most important – a Marxist approach that colors but does not invalidate much of the discussion). This is a social history with detailed analyses of representative pieces. “The main stylistic developments of chamber music from Jenkins to Purcell are the slow evolution from polyphony to homophony, and the final victory of dramatic and lyrical, of subjectively emotional elements.” 514. Field, Christopher D.S. “Consort Music, I: Up to 1660,” in The Blackwell History of Music in Britain, iii: The Seventeenth Century, ed. I. Spink (Oxford: Blackwell, 1992), 197–244. Field analyzes 5 kinds of consort music: fantasia, cantus firmus (In nomine), variations (including ground basses), dances (sometimes termed “ayres”), and fantasia-suites. This is an excellent introduction for the layperson as well as the scholar (though there are no footnotes, yet there is an extensive bibliography). See Tilmouth 208 for the continuation of this essay. 515. Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court 1540–1690. Oxford: Oxford University Press, 1993. 2nd ed. Oxford: Clarendon Press; New York: Oxford University Press, 1995. ML176. H64.1995. ISBN 0-19-816592-7. xvii + 491 pages + 8 pages of plates. A thorough study of the use of violin consorts at the Stuart and Tudor courts beginning with the arrival of Venetian Jewish violinists in 1540. In many cases, the consorts played dance or theatrical music but, in some cases, the music could be defined as chamber music. 516. Payne, Ian. “Instrumental Music at Trinity College, Cambridge, c.1594–1615: Archival and Biographical Evidence,” in Music and Letters, lxviii (1987), 128–40. Shows that Trinity College owned a consort of viols from 1594 to 1615 and that 2 composers there—Thomas Wilkinson and Mr. Mason—composed pavans for them that survive in a manuscript in the British Library. Add. Mss. 30826–28. For more on English consort music at the end of the 16th century, see 2476. 517. Coates, William. “Early English Chamber Music,” in The Canon: Australian Music Journal, vii (April 1954), 355–8.

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For the layperson, a brief introduction to English consort music c.1580–1628, which explains simply the In nomine settings, fantasias, and the instruments they were meant to be played on. See also Oliver Neighbour’s The Consort and Keyboard Music of William Byrd 1238; Ernst Meyer’s English Chamber Music 513, and his Die mehrstimmige Spielmusik 573, where there is also a review of English chamber music for 2 or more instruments excluding solo and trio sonatas, which served as a starting point for his study in 513. 518. Field, Christopher D.S. “The English Consort Suite of the Seventeenth Century.” PhD dissertation. New College, Oxford, 1970. 3 vols. I: iii + 318 pages; II: thematic catalogue and 81 musical examples; III: 14 fantasia-suites. Major scholarly study of this genre of 17th-century English music. Field discusses the terms “suite” and “sett” used in 17th-century England and accepts the term “fantazia-suite” as the modern term for 3-movement pieces by William Lawes and others (fantasy-alman-galliard or courante). He considers 3 generations of English consort suite composers: Coprario (d.1626), William Lawes (1602–45), and John Jenkins (1592–1678) and Matthew Locke (c.1622–77), but also includes many others. He criticizes Meyer’s almost total neglect of the fantazia-suite and his distortions when he does mention them in passing. Field gives a summary of the history of the suite in the early-17th century, keyboard as well as consort, with William Brade receiving prominent attention. He gives abundant evidence that the violin was preferred even by Coprario to the treble viol (trios for violin + bass viol + organ or for 2 violins + organ) and discusses the organ or continuo part. Analyzes the the structure and style of the individual movements and the unity of the 3 movements. Also discusses court-ayres (“slighter consort dances”). After Locke’s Consort of Fower Parts, the consort suite declines rapidly, replaced by the French or Lully suite. 519. Ashbee, Andrew, and Peter Holman, eds. John Jenkins and his Time: Studies in English Consort Music. Oxford: Clarendon Press, 1996. ISBN 0-19-816461-0. ML410.J445J6. (Jenkins: 1592–1678). xxiii + 421 pages. A collection of 13 essays by outstanding scholars, with an extensive bibliography; most of the essays are a major contribution to the study of English chamber music of the early to mid-seventeenth century. 1) Christopher D. S. Field, “Jenkins and the Cosmography of Harmony” (pages 1–74), gives a thorough study of enharmonics, key signatures, the circle of fifths, and tuning systems in the consort

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music of Jenkins, Alfonso Ferrabosco II, Thomas Tomkins, and other English composers of the time, that shows English musicians at least as enlightened as contemporary Italian masters; 2) Lynn Hulse, “Musical Apprenticeship in Noble Households” (pages 75–88), explains the system under which future English musicians were trained, including some who would be chamber music players; 3) David Pinto, “Gibbons in the Bedchamber” (pages. 89–109), considers the dedication of Gibbons’s chamber music to Edward Wray (whose complicated domestic situation between 1621 and 1622 allows for dating the music) and along the way has much to say on how political and domestic events influenced the chamber music of the time; 4) Bruce Bellingham, “Convention and Transformation in Ferrabosco’s 4-Part Fantasias” (pages 111–35), builds on Ashbee’s observation that Ferrabosco’s fantasia style was more architectural (Netherlandish) than song-like; 5) Joel Kramme, “William Cobb’s ‘New Fashions’: Some Notes Concerning the Reconstruction of the Missing Alto Part” (pages 137–59). For a detailed analysis of the ensemble fantasias of John Jenkins, see Robert Warner’s dissertation 1686, which discusses the incorporation of street cries into the fantasy for viols by Cobb (1560–1639); 6) Andrew Hanley, “Mico and Jenkins: ‘Musicians of Fame under King Charles I’” (pages 161–9), gives a description of the consort music (41 works for between 2 and 5 viols) by Jenkins’s contemporary Ricardo Mico (c.1591–1661); 7) Kathryn Smith, “‘To Glorify Your Choir’ the Context of Jenkins’s Sacred Vocal Music” (not relevant to chamber music); 8) Jonathan P. Wainwright, “The Christ Church Viol-Consort Manuscripts Reconsidered: Christ Church, Oxford, Music Manuscripts 2, 397–408, and 436; 417–18 and 1080; and 432 and 612–13” (pages 189–241), presents a detailed sourcestudy of consort music by Coperario, Mico, Jenkins, Ward, Ferrabosco II, Bull, Orlando Gibbons, Jeffreys, and Lupo; 9) Andrew Ashbee, “The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts” (pages 243–70), considers the social setting in which consort music was played and especially how the manuscripts of such music were distributed; 10) Robert Thompson, “Some Late Sources of Music by John Jenkins” (pages 271–307), delves into the water marks of the paper used to copy Jenkins’s music 1660–90; 11) Matthew Spring, “Jenkins’s Lute Music: An Approach to Reconstructing the Lost Multitudes of Lute Lessons” (not relevant to chamber music); 12) Frank Traficante, “Lyra-Viol Music? A Semantic Puzzle” (not relevant to chamber music); and 13) Peter Holman, “‘Evenly, Softly, and Sweetly According to All’: the Organ Accompaniment of English Consort Music” (pages 353–82), gives an indepth study of written-out and continuo organ parts in English music that was commonplace by 1660.

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520. Charteris, Richard. “A Rediscovered Manuscript Source with some Previously Unknown Works by John Jenkins, William Lawes and Benjamin Rogers,” in Chelys: The Journal of the Viola da Gamba Society, xxii (1993), 3–29. Hamburg, Staats-und Universitäsbibliothek, NDVI 3193 musical manuscript, feared lost forever, reemerged only in 1991 and is now back in Hamburg. It consists of 4 English park books, copied c.1683–4 by Sir Gabriel Roberts (c.1630–1715). Charteris gives a complete inventory and studies this source in detail, which includes 1 piece by John Birchensha (d.1681), 19 airs and fantasia suites by John Jenkins, 5 airs by William Lawes, 59 airs by Benjamin Rogers (1614–98), and 29 airs by Christopher Simpson. There are 29 pieces that were unknown before 1991. The transfer from gamba to violin, mentioned above, is discussed in more detail in the following: 521. Evans, Peter. “Seventeenth-Century Chamber Music Manuscripts at Durham,” in Music and Letters, xxxvi (1955), 205–23. Evans presents 80 different compositions for gamba + continuo, 2 or 3 gambas + continuo, and 2 violins + continuo. Half are anonymous; the rest are by Jenkins, Henry Butler, Zamponi and others. While none of the pieces is a masterpiece, they show collectively the transition from gamba to violin in England in the 17th century. 522. Richards, J. M. “A Study of Music for Bass Viol Written in England in the Seventeenth Century.” PhD. dissertation. University of Oxford, 1961. 523. Chazanoff, Daniel. “Early English String Chamber Music from William Byrd to Henry Purcell.” EdD dissertation. Columbia University, 1964. UMI 65–4720. DA xxv.11, pp. 6673–4. 287 pages. Uncovers this repertory, traces its stylistic development, and reorients its place in music history. The dissertation is limited to music without keyboard, a3–6. The emphasis is on the history of the music, its forms and styles, its social contexts, the most important composers, and the status of viols and violins as performing media. Chazanoff also considers the influence of this music on continental music. 524. Ashbee, Andrew. “Instrumental Music from the Library of John Browne (1608–91), Clerk of the Parliaments,” in Music and Letters, lviii (1977), 43–59. A scholarly report on 474 consort pieces a2 to a6 by numerous English composers of the 17th century now in the library of Christ Church, Oxford.

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For further information on the English fantasia, see 306. 525. Meredith, Margaret. “Christopher Simpson and the Consort of Viols.” PhD dissertation. University of Wales, 1969. RILM 70–1722. 3 vols. I: x + 157 pages; II: 238 pages (music); III: 217 pages (music). Scholarly, well-documented edition of music. Meredith gives a biography of Simpson (c.1605–69), a detailed account of the revolutionary times in which he lived (a Catholic, Simpson had no position at court), and the musical institutions in London performing instrumental music. She discusses the close relationship of instrumental and vocal forms in the 16th century but their independence in the 17th. She considers the fancy by Simpson, Jenkins, Purcell, Christopher Gibbons, Charles Coleman, and John Hingeston; the dances and divisions in which Simpson excelled; the viol family of instruments; and the organ and other continuo. Although Simpson does not specify “viol” in his music, it seems likely that he had this instrument in mind since he himself was a virtuoso on the instrument and not a violin player. The consort is solo chamber music. 526. Wess, Joan. “Musica transalpina, Parody, and the Emerging Jacobean Viol Fantasia,” in Chelys: The Journal of the Viola da Gamba Society, xv (1986), 3–25. Tries to trace a development from the English madrigal to English fantasia corresponding to the development of chansons to canzonas on the continent. The madrigal source—Musica transalpina (1588)— influenced Dowland, Coprario, and Richard Mico. All were influenced by Alfonso Ferrabosco I, an Italian immigrant to England in the 16th century. This article provides an important link in the study of early English chamber music. See also Don Smithers’s “Seventeenth-century English Trumpet Music” 314. 527. Dart, Thurston. “Jacobean Consort Music,” in Proceedings of the Royal Musical Association, lxxxi (1954–5), 63–75. History of viol consort music in England c.1530–c.1680. Dart concentrates on the years 1600–1625, which corresponds to Musica Britannica, Vol. ix. He discusses the fantasy, In nomine, dances, and the major composers. 528. Johnstone, H.D. “Music in the Home I,” in The Blackwell History of Music in Britain: The Eighteenth Century, eds H.D. Johnstone and R. Fiske (Oxford: Blackwell, 1990), 159–201. After an introduction that considers the social aspects of music at home during the first half of the 18th century, Johnstone deals specifically

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with chamber music on pages 173–88. The influence of Corelli was dominant during the first half of the 18th century, and numerous English composers (chief of whom probably was Joseph Gibbs [1699–1788]) were clearly in his orbit: thus the plethora of trio and solo sonatas. See Sadie 533 for the second half of the 18th century. David Cox, in “English Chamber Music Since 1700,” in Alec Robertson, ed., Chamber Music 212, pages 329–56, gives a brief chronological history with some analysis. 529. Caldwell, John. The Oxford History of English Music, Vol. ii: From c.1715 to the Present Day. Oxford/New York: Oxford University Press, 1999. ML286.C28.1991.v.2. ISBN 0-19-816288-X. English chamber music is discussed on pages 73–5 (Handel), 132–6 (during the years 1760 to 1815), 220–3 (1815–70), 298–304 (1870–1914), 392–3 (1914–45), and on various pages that deal with specific composers. Caldwell gives the names of composers and some of their works in essay format. Caldwell provides a useful introduction to chamber music, which is discussed within the context of all kinds of music in the second half of the 18th century in England. 530. Sadie, S.J. “British Chamber Music, 1720–90.” PhD dissertation. University of Cambridge, 1958. 531. McFarlane, Meredith and Simon McVeigh. “The String Quartet in London Concert Life, 1769–99,” in Concert Life in Eighteenth-Century Britain, Susan Wollenberg and Simon McVeigh, eds. (Aldershot/ Burlington (VT): Ashgate, 2004, ISBN 0754638685), 161–96. A detailed account of string quartet performances in London from the first known appearance in 1769 to 1799. This includes statistics of the number of quartet performances and other chamber performances in the overall concert seasons; the names of the performers from 1777 to 1799; the concert societies, including the Anacreonic Society; and the repertory (primarily quartets by Abel, Giardini, Haydn, Stamitz, Vanhal, Pleyel, Gyrowetz, but also those of lesser composers). 532. McFarlane, Meredith. “The String Quartet in Eighteenth-Century Provincial Concert Life.” Music in the British Provinces, 1690–1914, eds Rachel Cowgill and Peter Holman (Aldershot/Burlington (VT): Ashgate, 2007, ISBN 9780754631606), 129–49. A sociological study of the playing of string quartets in public concerts in 6 larger English provincial centers (Chichester, Norwich, Bath, Oxford, Manchester, and Newcastle) from 1769 to the end of the 18th century. Public concerts usually were through subscriptions or

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were benefits and involved both amateur and professional players. Of special importance for this study are the journals of John Marsh, amateur violinist and composer. A chart lists all the composers whose quartets were performed in London and in the 6 cities from 1768 to 1799. 533. Sadie, Stanley. “Music in the Home II,” in Blackwell History of Music in Britain: the Eighteenth Century, eds H.D. Johnstone and R. Fiske (Oxford: Blackwell, 1990), 313–54. After an introduction discussing the publishing of music for home consumption, the “domestic scene,” and the repertoire, Sadie considers the solo and trio sonatas of the second half of the 18th century as well as accompanied keyboard sonatas and other chamber music without keyboard (pages 324–50). This is a basic introduction to English chamber music of the period. See Johnstone 528 for an introduction to the first half of the 18th century. See Ronald Kidd’s “The Sonata for Keyboard with Violin Accompaniment in England (1750–90)” 320. See Lowell Lindgren’s “Italian Violoncellists and Some Violoncello Solos Published in Eighteenth-Century Britain” 2600 and Simon McVeigh’s Concert Life in London from Mozart to Haydn 2737. 534. Scott, Hugh Arthur. “London’s First Consort Room,” in Music and Letters, xviii (1937), 379–90. Documented history of the first room (in the York Buildings on Villiers Street) regularly used for chamber concerts (vocal and instrumental) and operas. While most concerts were primarily vocal, some were purely instrumental chamber concerts. Concerts often included spoken readings from the classics and dancing. 535. Bashford, Christina. “Learning to Listen: Audiences for Chamber Music in Early-Victorian London,” in Journal of Victorian Culture, iv (1999), 25–51. Describes how London audiences developed sophisticated listening habits at public concerts of chamber music from the 1830s to early 1850s. At first house concerts, these chamber music events – for serious-minded aristocrats, professional musicians, journalists, and important visitors – expanded from 100 to 600 listeners primarily in 2 venues: the Beethoven Quartet Society and the Musican Union. The core repertory was Haydn’s Op. 76, Mozart’s “ten famous quartets,” and Beethoven’s quartets. An extremely important contribution to the study of the sociology of chamber music: the people, the venues, manners (especially “silence” during performances), programs, and miniature scores.

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536. Bashford, Christina. “Public Chamber-Music Concerts in London, 1835–50: Aspects of History, Repertory and Reception.” PhD dissertation. University of London, 1996. See Simon McVeigh’s “The Benefit Concert in Nineteenth-Century London” 2738. 537. Bush, Geoffrey. “Chamber Music,” in Music in Britain: The Romantic Age, 1800–1914, ed. Nicholas Temperley (London: Blackwell, 1981), 381–99. An excellent and succinct social history of chamber music in the 19th century in England (primarily London). Bush describes early in the century the amateur playing at home, string quartet parties, violin duets (Viotti), and the dominance of the piano. The public concert gradually became more important, and the Philharmonic Society included chamber music as well as symphonic. After 1835 some public concerts were devoted exclusively to chamber music. English composers imitated the Viennese; perhaps the most promising was George Pinto (1785–1806), who died too young. Bush describes the popularity of Beethoven, Mozart, and Brahms’ chamber music, and discusses the most prominent English composers later in the century. 538. Weber, William. Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna between 1830 and 1848. 2nd ed. Aldershot/Burlington (VT): 2004. ISBN 0754635635. xxxviii + 174 pages. 539. Banfield, Stephen. “British Chamber Music at the Turn of the Century: Parry, Stanford, Mackenzie,” in The Musical Times, cxv (1974), 211–13. A brief but good introduction to the chamber works of Parry (1848– 1918), Stanford (1852–1924), and Mackenzie (1847–1935) placed in the historical and cultural setting of England from the 1860s. It shows English attitudes to chamber music then and the state of the art. 540. Henderson, Archibald Martin. “Chamber Music in Glasgow,” in Musical Memories (London/Glasgow: The Grant Educational Co., 1938), 105–12. ML 416.H475M9. Reminiscences of chamber music in Glasgow 1889–1914 by an accomplished pianist, professor of music, and life-long resident of Glasgow. He describes concerts, performers, repertory, and the concert halls. He organized his own concerts there. 541. Antcliffe, Herbert. “The Recent Rise of Chamber Music in England,” in The Musical Quarterly, vi (1920), 12–23. 4 portraits.

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Notes the increased interest in chamber music over the preceding 20 years owing to the development of local rather than foreign talent (caused by the World War). Antcliffe describes the establishment of clubs at Oxford and Cambridge as well as several in London, and their award of annual prizes for the composition of chamber music for strings. He also mentions the creation of a free library of chamber music. There is a brief discussion of some new English chamber works by Frank Bridge, H. Waldo Warner, John B. McEwen, Eugene Goosens, and others. The emphasis is on string quartets. Matthew Taylor 83 discusses string quartets written by English composers from 1991 to 2006. See 113 for a list of British piano trios, quartets, and quintets. For a discussion of 20th-century British string quartets see 275 and 276. For the history of the chamber concerts at a particular concert hall from 1887 to 1987, see 2744. 542. Stonequist, Martha Elisabeth. “The Musical Entente Cordiale: 1905–16.” PhD dissertation. University of Colorado, 1972. UMI 73–18597. DAI xxxiv.3A, p. 1317. 384 pages. A detailed account of this English concert society’s activities in promoting early 20th-century French music in Manchester and other English cities. Written by the granddaughter of the Executive Secretary of the society in Manchester, it contains many documents (programs, letters) to show the extent of French music performances in England and to evaluate the influence that it has had in England. There is no specific mention of chamber music in the abstract, but presumably chamber music was an important feature. 543. Palmer, Peter. “English Song-Cycles with String Quartet.” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, ed. Beat A. Föllmi, Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 131–9. A brief review of song cycles accompanied by string quartet, string quartet and piano, and string quartet and winds. Works are by Vaughan Williams, Ivor Gurney, Henry Walford Davies, George Butterworth, and Peter Warlock. To be taken in context with Othmar Schoeck’s “Notturno.” For other studies of English chamber music in the 20th century, see the dissertations by Peter Alexander 455 and Tatton 447. 544. O’Hagan, Peter. Aspects of British Music of the 1990s. Burlington (VT): Ashgate, 2003. ISBN 9780754630418. xviii + 164 pages.

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A collection of essays by various authors on the music of several British composers of the 1990s. Especially relevant to chamber music are analyses of Jonathan Harvey’s String Quartet No. 3 (1995) and Adaya (1994) for violoncello and electronics, James Dillon’s Third String Quartet (1998), Thomas Adès’ Arcadiana (1994) for string quartet, and Harrison Birtwistle’s Nine Movements for String Quartet (1996). O’Hagan includes interviews with the composers. Finland 545. Korhonen, Kimmo. “The String Quartet During Finland’s Period of Independence,” in Finnish Music Quarterly, No. 3 (1992), 3–10. 546. “A ShortList of Finnish String Quartet Repertoire: from Inner Voices to a Slow Boogie-Woogie.” Finnish Music Quarterly, i (2006), 18–19. 547. Krenz, K. “Eye on Finland: Kuhmo’s Spirit.” Chamber Music, xx (April 2003), D10–13. 548. Huldt, Birgitta. “35 years of Kuhmo Chamber Music Festival.” Nordic Sounds, No. 3 (August 2005), 15–16. This is an interview with director Seppo Kimanen as he leaves his post. 549. Karjalainen, Tuulikki. “Virtuosi in Kuhmo: High Technology Meets Music at the Centre of Expertise for Chamber Music.” Finnish Music Quarterly, ii (2006), 20–1. A brief history and description of a Finnish project that unites modern computer technology to the creation of and performance of chamber music. It began in 1995 as an idea and was funded in 1998. 550. Leed, Marika. “Good Music and Enough Advertisement Ensure a Good Audience: Ilari Angervo and his String Quartet Concert Series.” Finnish Music Quarterly, I (2006), 20–2. The violist Ilari Angervo founded a string quartet concert series in Helsinki that has achieved success with the public. He shares the secrets of his recipe and discusses the situation of chamber music and particularly of quartet playing in Finland. 551. Niemisto, Paul. “Finnish Brass Septet Playing Today: a Report on Recent Research.” Kongressbericht Oberwolz/Steiermark 2004, Bernhard Habla, ed. Eine Publikation der Internationale Gesellschaft zur Erforschung und Forderung der Blasmusik, Bernhard Habla, ed. (Tutzing: Schneider, 2006, ISBN 3795212030), 257–81.

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Since the 1870s there have been numerous brass septets throughout Finland and in some cases their concept has been carried to other countries. The instruments vary to some extent. The repertory is mostly dances and marches and has more relevance to band music than chamber music. See Marcia Anderson’s “A Survey of Twentieth-Century Finnish Clarinet Music … ” 459. France 552. Cohen, Albert. “A Study of Instrumental Ensemble Practice in Seventeenth-Century France,” in Galpin Society Journal, xv (1962), 3–17. An outstanding contribution to the history of early French chamber music. Among the ensemble music mentioned are private concerts in the homes of musicians, as cited in Mersenne (1623) and Jocques de Goüy (1650). But until c.1675, all these concerts included voice, and instruments mainly supported voice parts. The first known reference to pieces that may be performed in concert only of viols is in 1657. Concerts exclusively of viols first occurred c.1675 in the private home of violist Sainte-Colombe. For the French fantasia in the 17th century, see 468. 553. Gustafson, Bruce, and David Fuller. A Catalogue of French Harpsichord Music, 1699–1780. Oxford: Clarendon Press, 1990. ISBN 0-1931-5256-8. xxi + 446 pages. An exhaustive listing of printed and manuscript sources of French harpsichord music of the time. It includes accompanied sonatas and pieces with harpsichord in concert, but does not include works for solo with continuo accompaniment. This book complements Bruce Gustafson, French Harpsichord Music of the 17th Century: A Thematic Catalogue of the Sources with Commentary, 3 vols. Ann Arbor: University Microfilms International, 1977. ISBN 0-8357-1069-6. ML128.H35G9. I: xli + 394; II: v + 488; III: v + 380 pages. For further information, see Edward Lockspeiser’s “French Chamber Music since 1700,” in Alec Robertson, ed. Chamber Music 212, pages 357–89; Lionel de La Laurencie’s L’École Française de Violon de Lully … Viotti 322; Gisela Beckmann’s Die französische Violinsonate mit Basso Continuo von Jean-Marie Leclair bis Pièrre Gaviniès 323, and Erich Doflein’s “Violinsonaten aus Paris aus den Jahren 1770–85” 324. For the history of the Clarinet sonata in France in the late 18th century, see Dale Kennedy’s “The Clarinet Sonata … ” 1345.

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554. McPhail, G. J. “The Accompanied Keyboard Sonata in France, 1734–78.” PhD dissertation. Victoria University, Wellington, 1984. 555. Ewoldt, Patrice R. “La bande à Franck: Chamber Music for Piano and Violin.” DMA dissertation. University of Maryland College Park, 2000. DAI, lxi (October 2000), p1211A. ii + 21 pages. An analysis and performance of 4 sonatas for violin and piano by pupils of César Franck. The value of this thesis is in describing these sonatas by Lekeu, Vierne, Pierné, and Lazzari. Ewoldt’s presentation of the influence of the Société Nationale de Musique, Franck’s participation in it, and Wagnerianism is naïve. It was far more sinister and complicated. For the history of the French string quartet from 1770 to 1800 see 256 and from 1750 to the late 20th century, see 253. See also 2739. 556. Mellers, Wilfrid. “The String Quartet in France,” in The Listener, lxi (1959), 570. An attempt to explain French string quartets of the 19th and 20th century in terms of the socio-politcal aspects of French history. Many interesting, novel ideas are suggested; but, because of the brevity of the article and the absence of any analysis of the pieces mentioned, the ideas are underdeveloped, seemingly inaccurate, and sometimes confusing. For example, the political climate of Austria was more conducive to the egalitarianism of the string quartet than was that of France, which explains why there are so many Austrian and so few French quartets; Austrian aristocratic autocracy was partially “undermined by war and foreign domination,” while the French aristocracy “exploded in action rather than in art.” 557. Viano, Richard J. “By Invitation Only: Private Concerts in France during the Second Half of the Eighteenth Century,” in Recherches sur la musique française classique, xxvii (1991–2), 131–62. The salons of the aristocracy and upper classes were the sites of many concerts, and because of their privacy records of them are scarce. Yet they had a major impact on the musical life of the time, including on the public concerts. The major source of information on these concerts is the diaries and letters of the hosts. Viano sought data on who performed, the different kinds of salons, the audience, performance practice, kinds of music performed, and commercial aspects. While temporarily reduced during the first years of the Revolution, the salons nonetheless survived and ultimately flourished again. All kinds of music was played, including chamber music. This is a basic, general introduction to this phenomenon, with good footnotes.

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558. Hanning, Barbara R. “Conversation and Musical Style in the Late Eighteenth-Century Parisian Salon,” in Eighteenth-Century Studies, xxii (1989), 512–28. The quatuors concertants in France (1760s – 1789) related to “the French obsession with conversation” in the Parisian salons. Hanning does not suggest that composers imitated conversation but, rather, that both the chamber music and the conversation reflected “a particular culture’s self image.” After establishing what was considered by the people of the time to be good and bad conversation, she relates these to the new quatuors concertants (by Haydn rather than by Boccherini or Cambini). For French piano trios from the late 18th to early 19th centuries, see 411. 559. Garnier-Butel, Michelle. “Les avatars d’un genre élitiste, le quatuor à cordes,” in Le tambour et la harpe: oeuvres, pratiques et manifestations musicales sous la Révolution, 1788–1800, eds Jean-Rémy Julien and Jean Mongrédien (Paris: Éditions du May, 1991), 189–220. During this revolutionary period, 578 series of quartets were published in Paris representing the works of 94 composers. After a description of the publishers, Garnier-Butel describes the contents of the quartets, including not only quatuors concertants but also quartet arrangements of opera airs and overtures. She relies heavily on statistics. This is an interesting view of the French quartet during its transition from an elite aristocratic art form to a popular one. 560. Schwarz, Boris. “French Instrumental Music between the Revolutions (1789–1830).” PhD dissertation. Columbia University, 1950. UM 50–366. DA x.4, p. 250. 370 pages. Discusses musical life in Paris 1789–1830. Schwarz concentrates on the mostly neglected symphony, the brilliant violin concerto, the shallow virtuosic piano piece, and finally chamber music. French chamber music was primarily the quatuors brillants dominated by the virtuosic first violin and piano works accompanied by other instruments. Boieldieu’s piano trio (c.1800), Cherubini’s string quartets, as well as Reicha’s quintets for winds (1818–20) were the exceptions. 561. Fauquet, Joël-Marie. “La musique de chambre à Paris dans les années mil huit cent trente (Music in Paris in the Eighteen-thirties),” in La vie Musicale en France au xixe siècle (Musical Life in 19thCentury France), Vol. IV. ed. Peter Bloom. Stuyvesant (NY): Pendragon, 1987. 299–326. In French but with English summary. ML 270.8 P2M76. ISBN 0-918728-71-1.

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Concentrates on the Baillot concerts but gives the general Parisian condition of chamber music in the 1820s and 1830s, especially 1824–32. Fauquet lists works played, and discusses musicians. 562. Fauquet, Joël-Marie. Les Sociétés de musique de chamber à Paris de la Restauration à 1870. Paris: Aux Amateurs de Livres, 1986. ISBN 2-9050-5325-9. ML1127.F38.1986. 448 pages. A comprehensive, exhaustive history of the performance of chamber music—its venues, its public role, the public reaction to it, critical reaction, its interpreters, and its interpretation—in Paris from c.1814 (the initial promotion of chamber music by violinist Pierre Baillot) to c.1870 (the aesthetic reaction against German music caused by the Franco-Prussian War). Fauquet discusses the many chamber groups, their repertory, and their instrumentation. Examples of programs are reproduced, and there is a good bibliography. No history of French chamber music in the 19th century can be written without reference to this work, which should remain basic for anyone studying that topic or romantic music in France in general during the 19th century. 563. Cooper, Jeffrey. The Rise of Instrumental Music and Concert Series in Paris 1828–1871. Ann Arbor: University Microfilms International Research Press, 1983. ML 497.8P4C6. ISBN 0-8351403-9. xiv + 387 pages. PhD dissertation. Cornell University, 1981. A major source book for information on 19th-century French performers and performances of chamber music. Through discussion and charts, Cooper documents the concert halls, programs, seasons and audiences, performers, concert conditions, and concert series in France. Special attention is given to the major concert series, among which Société Alard-Franchomme ( = Société de Musique de Chambre), Société des Derniers Quatuors de Beethoven, Société des Quatuors de Mendelssohn, Séances Populaires, Gouffé Séances, Lebouc Séances and to a much lesser extent Société Sainte-Cécile are of special importance for the history of chamber music. Cooper draws from the newspapers. Beethoven predominates and, of music before 1800, only Haydn, Mozart, and Boccherini get much attention. 564. Ellis, Katharine. Music Criticism in Nineteenth-Century France: La Revue et Gazette Musicale de Paris, 1834–80. Cambridge/New York: Cambridge University Press, 1995. ML 270.4.E45.1995. ISBN 0-521-45443-3. xiii + 301 pages. Numerous reviews of chamber music compositions and performances interspersed with other reviews. While the reviews offer interesting insight into 19th-century reaction to chamber music, critical reviews do not necessarily reflect the popularity of a piece, just as the number

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of performances does not necessarily reflect popular reception by audiences. Different opinions by different reviewers show the danger of taking any one review as reflecting any more than one person’s reaction on one occasion. See especially the chapter “Chamber and Symphonic Music,” but also ad passim. 565. Ellis, Katharine. “La Musique de Chambre en France de 1850 … 1871,” in Le Mercure Musical, Nos. 8–9 (1911), 37–50. Saint-Saëns (Harmonie et Mélodie) stated that before 1871 there was no chamber music in Paris, but contrary to such popular belief there was considerable chamber music in Paris 1850–71. Ellis reviews in some detail the situation before 1850, listing numerous French composers of chamber music (Baillot, Urhan, Dancla, Alard) and the interest in Mozart, Haydn, and Beethoven. She reproduces programs. She continues the review after 1850 with Lalo, Saint-Saëns himself, and many others. She also describes chamber music societies. Max Favre’s Gabriel Fauré’s Kammermusik 1403 gives a good summary of chamber music in 19th century France. For a summary of French chamber music 1850 to 1950 see 433. 566. Augé de Lassur, Lucien. La Trompette: un Demi-Siècle de Musique de Chambre. Paris: Ch. Delagrave, 1911. ML 270.8P2L2. vii + 237 pages. An extraordinarily flowery chronicle of an amateur chamber music society “La Trompette”, founded and directed in Paris by Émile Lemoine. Amateurs and professionals performed semi-privately for an invited audience. The repertory dwells on Beethoven, Mozart, and Mendelssohn, gradually including others also. Saint-Saëns was an active participant. Enthusiasm and devotion carried when technique was wanting. Singers also included. This is a good source for the practice of chamber music in Paris at the time (1860–1910): who attended, who performed, what they played—detailed names and some personal comments on the persons. Later performers included Pablo Casals, Harold Bauer, Wanda Landowska, Alfred Cortot, Serge Koussevitsky (on bass) and, as always, Saint-Saëns (who is a subscriber to the book). Augé de Lassur promotes contemporary chamber music by Debussy, Koechlin, and D’Indy. 567. Gut, Serge. La Musique de Chambre en France de 1870 à 1918. Paris: Honor, Champion, 1978. ML 1127.G9. ISBN 2-85203-048-9. 239 pages. A well-documented history of French chamber music of this period, with strong emphasis on the socio-economic position of the genre and on the individuals who were important. The appendix includes a list of winners of the chamber music prize of the Academy of Beaux

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Arts 1860–1918 and a list of most of the composers of chamber music in France 1870–1918 and their most important chamber works. It is full of facts and details, but is limited to music a2-a10. The main figures are Franck, Fauré, Saint-Saëns, and Debussy. Gut lists the principal political, social, economic, philosophical, and musical reasons why 1870–1918 was a particularly good time for chamber music. He compares French to foreign situations. He considers French concert societies and profesional chamber ensembles, concert halls, schools, and genres (sonatas, trios, quartets, and so on). There is a useful bibliography organized by topics. For the French piano trio of the late-19th century see 412. See 275 for the French string quartet in the 20th century. 568. Pleyel, Wolff et Cie, Maison. La Musique de Chambre: Séances Musicales Donnés dans les Salons de … I: Paris: Gautherin & Cie, 1893; II-X: Paris: Pleyel, Wolff, 1894–1903. NL V415.6. 10 vols. 1894 is the smallest: xxv + 207 pages; 1900–1 combined volume is the largest: iv + 413 pages. A huge collection of concert programs published with an index giving a clear picture of public chamber music in Paris 1894–1903. 569. Mari, Pierrette. “La Musique de Chambre,” in La Revue Musicale, No. 316–17 (1978), 145–51. Considers chamber music in France since the end of World War II. It is characterized by unlimited exploitation of complexities to the detriment of expression, but at the same time it is vibrant and diverse. It has flourished because orchestras have shut themselves off to modern composers. Among composers briefly discussed are Messiaen, Alfred Déseclos, Jean-Louis Martinet, Serge Nigy, André, Casanova, Honegger, Koechlin, Boulez, Jolivet, Daniel Lesur, and Alexandre Tansman. This is a selective list of chamber music by post-war Frenchmen. For chamber performances in France c.2000 see 2768. Georgia SSR 570. Taktakisvili, Georgij. K Istorii Strunnogo Kvarteta i Fortepiannogo Trio v Gruzzi. Tbilisi: Ganatlebn, 1973. RILM 74–2977. 127 pages. In Russian. A contribution to the history of the string quartet and piano trio in Georgia. Taktakisvili describes the rise of instrumental chamber

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music and the formation of chamber ensembles in Georgia up to 1966. He includes an analysis of the music and stylistic traits of the ensembles. 571. Saverzasvili, Aleksandr, ed. Sbornik Trudov Tbilisskoj Konservatorii, Vol. 5. Tbilisi: Konservatorija, 1977. RILM 77–2276. 296 pages. Two articles in this collection from the Tbilisi Conservatory discuss chamber music: M. Kanceli, “Form in the String Quartets of Dmitrij Sostakovic” and D. Ojkasvili, “The Laws of Harmony and their Relationship to the Chamber Works of Georgian Composers.” Not seen. Germany For an overview, see Andrew Porter’s “Modern German Chamber Music,” in Alec Robertson, ed. Chamber Music, 212, pages 390–409. 572. Brinzing, Armin. Studien zur instrumentalen Ensemblemusik im deutschsprachigen Raum des 16. Jahrhunderts, in Abhandlungen zur Musikgeschichte, ed. Martin Staehelin. Göttingen: Vandenhoeck & Ruprecht, 1998. 2 vols. 784.0943.B858.S933.1998. ISBN 3-525-27903-5. I: xiii + 352 pages; II (musical examples): ix + 142 pages. Nearly the entire book is a discussion of the dance music performed by German instrumental ensembles during the 16th century. Most of this has nothing to do with chamber music per se; but, Brinzing does show, in Chapter I that deals with the place of instrumental music in the life of 16th-century Germans, that German students in the 16th century were playing chamber music for personal pleasure. 573. Meyer, Ernst Hermann. Die mehrstimmige Spielmusik des 17. Jahrhunderts in Nord-und Mitteleuropa, mit einem Verzeichnis der deutschen Kammer-und Orchestermusikwerk des 17. Jahrhunderts, in Heidelberger Studien zur Musikwissenschaft, Band II. Kassel: Bärenreiter, 1934. ML 467.M4M4. 258 pages. Expansion of PhD dissertation. University of Heidelberg, 1930. A scholarly study of the genres of chamber and orchestral music of the 17th century in 3 regions of Europe: England, France–The Netherlands, and Germany, with the first 2 serving as a prelude to the study of Germany. Pieces for 1 or 2 treble instruments with continuo are excluded. Meyer notes the strong English influence in northern Germany and the Italian influence in southern Germany. At the beginning of the century, German ensemble music was primarily suites, whereas after 1648 the number of German collections of polyphonic sonatas spectacularly grows to satisfy the new surge of collegia musica outside religious circles. Meyer gives a history of the

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German sonata and its structure. There are 2 types: organically unified ones as in Rosenmüller and inorganically, ununified ones as in Weckmann. The latter are clearly chamber music, not orchestral. By c.1675, sonata was the leading form of multi-instrument music in Germany, but then a decline set in as the Italian trio and solo sonata took over. The German sonata had a dominating top voice, but still an equal voice among equals, whereas in the Italian trio or solo sonata the top voice predominated the others not at all equal to it. Also, the instrumental concerto idea, occasionally present before in Germany, becomes common by the end of the 17th century. Meyer gives ample proof that the vast majority of German sonatas until the 1670s was chamber music and only afterwards, under French overture and Italian concerto grosso influences, did they become orchestral. The fugue is an outgrowth of middle- and northGerman sonatas of both Weckmann and Rosenmüller types. This study concludes with 3 extensive catalogues of multi-instrumental music 1) in 16th- and 17th-century England; 2) in 17th-century Belgium–The Netherlands–France–Poland–Scandinavia, and 3) in Germanic countries 1590–1710. 574. Gottron, Adam. Mainzer Musikgeschichte von 1500 bis 1800, in Beiträge zur Geschichte der Stadt Mainz, Band 18. Mainz: Stadtbibliothek, 1959. ML 278.8.M35G6. vii + 236 pages. Provides information on chamber musicians with a Mainz connection, such as Philipp Friedrich Buchner (1614–69), Pachelbel, Froberger, Heinrich Anton Hoffmann (1770–1842), Georg Friedrich Fuchs (1752–1821), and Johann Franz Xaver Sterkel (1750–1817). Much chamber music of the 18th century survives in archives in Rome, Uppsala, and elsewhere. For a special study on the important Mannheim region of Germany, see Roderich Fuhrmann’s Mannheimer Klavier-Kammermusik 430. 575. Riemann, Hugo. “Mannheimer Kammermusik des 18. Jahrhunderts,” in Mannheimer Kammermusik des 18. Jahrhunderts: I. Teil: Quartette und Quintette (ohne Klavier), in Denkmäler der Tonkunst in Bayern, Jahrgang. 15, Band. 27. (Leipzig: Breitkopf & Härtel, 1914), pages ix-xxiii. M 2.D4. Points out that symphonies are only 1 development from orchestral trios or quartets, and chamber trios and quartets could be played solo or orchestrally. Riemann demonstrates Stamitz’s leading role in his 6 Op. 1 Trios, and then discusses each of the other principal composers: Richter, Filtz, Toëschi (whose quartets develop from the trio sonata), Johann Baptist Wendlung (flutist, 1720–97), Schobert

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(use of a cantabile keyboard), and many others. He considers different genres, the subordinate role of the keyboard, the special importance of woodwind chamber music for England, and the growth of idiomatic cello parts. II. Teil: Trios und Duos (ohne Klavier und mit obligatem Klavier), in Denkmäler der Tonkunst in Bayern, Jahrgang. 16, Band. 28. Leipzig: Breitkopf & Härtel, 1915. A catalogue (pages xi–xxv) of published chamber music by Mannheim composers, beginning with anthologies, then listed by composer, and finally listed by date or opus number. It includes scoring, keys, publishing data, and locations. Followed by a thematic catalogue (pages xxvii–lxiii), alphabetically by composer. The discussion of the importance and the history of divertimenti is mostly found under Austria, but the following is a contribution. 576. Riemann, Hugo. “Der Divertimento-Begriff bei Georg Christoph Wagenseil,” in Archiv für Musikwissenschaft, ix (1952), 45–50. Discusses a group of keyboard divertimenti in Dresden manuscripts. Although not concerned with chamber music per se, since divertimenti are important for the development of classical chamber music types, this discussion is relevant. 577. Little, Fiona. The String Quartet at the Öttingen-Wallerstein Court: Ignaz von Beecke and his Contemporaries, in Outstanding Dissertations in Music from British Universities. 2 vols. New York/London: Garland Publishing, 1989. ML1160.L57.1989. ISBN 0-8240-2343-9. vi + 371 pages; iv + 250 (musical examples). Originally PhD dissertation. Oxford University, 1985. Little notes that the string quartets in many small German courts and towns have been neglected in the histories of that genre and have been dwarfed by the great contributions from Vienna and Paris. After a survey of quartets in various German towns, monasteries, and courts, Little focuses on the chamber music in the court and private houses in Oettingen-Wallerstein during the last 3 decades of the 18th century (with a note that there was a revival in 1817). There are charts listing the repertoire played there, and the quartets of Beecke and his contemporaries A. Rosetti and Joseph Fiala are treated at length. 578. Engländer, Richard. Die Dresdner Instrumentalmusik in der Zeit der Wiener Klassik, in Uppsala Universitets Arsskrift 1956:5. Uppsala: A.-B. Lundequistska Bokhandeln/Wiesbaden: Otto Harrassowitz, 1956. AS 284.U7.1956 No.5.

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Dresden experienced an upswing in interest in chamber music in the 1780s, partly as middle class music and partly as court music (both mostly in private concerts and Hausmusik). Important musicians played there, such as Carl Stamitz (1787) and Mozart (1789). Engländer gives a list of 126 composers and many works in the court records 1777– 1810. He singles out the Swedish-German Johann Gottlieb Naumann for a special study: a pupil of Tartini, Naumann was a violist and wrote mainly string duos and trios in Italy; then he wrote some operas, but from 1786 on published chamber music in Dresden. Engländer also considers Naumann’s pupils Joseph Schuster (1748–1812), Franz Seydelmann (1748–1806), and Anton Teyber (1754–1822), who explored new dimensions of sonata form in chamber music and approached Beethoven’s style (Neefe, Beethoven’s teacher in Bonn, was first the teacher of Seydelmann in Dresden). He discusses piano music and the chamber music of Hasse and Christlieb Siegmund Binder (1723–89). This is a scholarly book but it is also suitable for the layperson. 579. Parker, Mara E. “Soloistic Chamber Music at the Court of Friedrich Wilhelm II, 1786–97.” PhD dissertation. Indiana University, 1994. 580. Unverricht, Hubert. “Privates Quartettspiel in Schlesien von 1780 bis 1850,” in Musica privata: die Rolle der Musik im privaten Leben: Festschrift für Walter Salmen zum 65. Geburtstag, eds Monica Fink, Rainer Gstrein, and Günter Mössmer (Innsbruck: Edition Helbling, 1991), pages 105–12. Unverricht reports several documents that show that chamber music, especially string quartet playing, was going on in private homes in Breslau (Wroclaw) and in the smaller town of Schlesien. The first document is correspondence from Dittersdorf in Schlesien to Artaria in Vienna in 1788 that shows Dittersdorf in competition with Haydn, Mozart and Pleyel. Other documents from the 19th century show private and semi-private chamber music societies (Zahn Quartet Society 1803–6, Breslauer Quartet Society in 1816, and so forth). Unverricht gives names of some performers and chamber music patrons and mentions composers whose works were performed. For a lengthy study of the Biedermeier Hausmusik tradition in Germany in the first part of the 19th century, see 708. For a discussion of chamber music in Berlin, see Karla Höcker’s Hauskonzerte in Berlin 223. 581. Kahl, Willi. “Die Neudeutschen und die Kammermusik,” in Die Musik, xx (1927–8), 429–33. The neudeutsche composers of the 1880s in Germany were followers of Berlioz, Liszt, and Wagner who believed that chamber music was

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a minor art form. After Beethoven’s 9th Symphony and Op. 132 String Quartet, so they stated, there was nothing more to be said in pure music, and only programatic instrumental music was considered important. They were opponents of Brahms and Reger, and the only chamber music they composed was early works written before they knew better. By 1920, there was a revival of chamber music in Germany, and then some of that generation returned to it in their later years. 582. Krause, Emil. Die Entwicklung der Kammermusik. Hamburg: C. Boysen, 1904. 785.7 K868e. vi + 53 pages. Mostly outdated but valuable for a history of chamber music in Hamburg 1800–1904. Krause cites specific performers and dates and gives sample programs. He divides the 19th century into 3 periods: 1800–63; 1863–74; and 1874–1904, based on local personalities and societies. 583. Sievers, Heinrich. Kammermusik in Hannover: Historisches, Gegenwärtiges – Kritiken, Meinungen: unter besonderer Berücksichtigung des Wirkens der Hannoverschen Kammermusik-Gemeinde 1929–1979. Tutzing: Hans Schneider, 1980. ML 1129.S54. xiv + 213 pages + 9 pages of photos. A history of chamber music in Hannover from the 18th century to the present, with emphasis on the last 50 years. Sievers recalls the numerous traveling virtuosos and chamber musicians in the very active musical life of the city, and gives many programs. He discusses the problems caused by the Nazis and gives a picture of musical life in Germany during World War II. He gives lists of performances of the chamber works of Hindemith, Berg, Schoenberg, Webern, and Bartók in Hannover. Hannover was not a provincial city but it was in the center of chamber music activity in Germany. Many visiting chamber ensembles, after having performed live in Hannover, were then recorded in the same hall by Deutsche Gramophon Gesellschaft located in Hannover. 584. Stütz, Gerhart, ed. “Kammermusik,” in Musikpflege in Stadt und Bezirk Gablonz an der Neisse (Schwäbisch-Gmünd: Lentelt-Gesellschaft, 1975), pages 56–60. HML 196.45.83. Traces string quartets from 1891 to 1940, including the Podwesky Quartet. 585. Hofmeyer, Günter. Kammermusik des 20. Jahrhunderts. 1. Zyklus: Deutsche Kammermusik 1918–1933. Berlin: Deutsche Akademie der Künste zu Berlin, Sektion Musik, 1967. ML 1129.H72. 22 pages, 9 portraits, 3 facsimiles of programs.

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A good introduction to the history of German chamber music 1918– 33 reflected in the battle of the social classes of the time. This is a Marxist interpretation of German history since the end of the 19th century: a composer is judged on his awareness of the sufferings of the masses and his ability to demonstrate that in his creative output. Hofmeyer considers historical climates, sources of 20th-century music (Wagner-Brahms influence, Strauss, Reger, Mahler, Debussy, who did not understand Marxist reality, and Stravinsky, Bartók, Busoni, and non-musicians Picasso and Cocteau, who did), music and society, and the personalities and schools of 1918–33 (special emphasis on Hans Eisler, and Schoenberg). Chamber music was the main vehicle of new music in the 1920s, not because orchestras and other concert groups were hostile to new music or could not afford it but mainly because the new composers, disgusted with the capitalistic world, sought new expressions where content was most important—the inner substance of music, which traditionally is the realm of pure chamber music. 586. Bennwitz, Hanspeter. “Die Donaueschinger Kammermusiktage von 1921 – 1926.” PhD dissertation. Freiburg i.B.: 1962. 247 pages. For German chamber music between World War I and World War II, see Ottner 217. See 275 for the German string quartet in the 20th century. 587. McCredie, Andrew. “Modern Chamber Music from Strauss to Stockhausen,” in Canon: Australian Music Journal, xvi (1962–3), 3–12. A survey of the chamber works of Richard Strauss, Hans Pfitzner, Max Reger, Paul Hindemith, Wolfgang Fortner, Hans Werner Henze, Giselher Klebe, and Karlheinz Stockhausen, with passing reference to a number of others. This book is designed for the student or layperson. 588. Schneider, Frank. Das Streichquartettschaffen in der DDR bis 1970, in Beiträge zur musikwissenschaftlichen Forschung in der DDR, Band 12. Leipzig: VEB Deutscher Verlag für Musik, 1980. ML 1160.S3. 178 pages. Schneider gives a list of East-German string quartet compositions 1945–1970 (including earlier quartets that date back to 1914 by composers who were still in the DDR after 1945). After the aesthetic, methodological, and sociological background to the subject, this is a collection of historical essays in 5-year time segments on string quartet writing in the DDR from Max Butting to Friedrich Goldmann and other “moderns.” Schneider analyzes their principal string quartets primarily in order to find to which school or type the piece belongs. He ends with a thesis on why string quartets have been popular and successful in the DDR—its transition from a middle-class to a socialistic art.

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589. Nündel, Heinz. “Kammermusik,” in Forum: Musik in der DDR, in Deutsche Akademie der Künste, Arbeitshefte ix, ii (Berlin: Henschelverlag, 1972), 77–94. RILM 73–2098. “Surveys the development of chamber music and the impetus it received from the principles of socialist realism in terms of its expressive means and formal outlines. Chamber music is no longer the province of the privileged class. The strength of its bonds to socialist music culture lies in amateur, domestic, and school performances.” 590. Vetter, Manfred. Kammermusik in der DDR. Frankfurt a/M: Peter Lang, 1996. ISBN 3-631-30257-6. ML 275.V48.1996. 300 pages. An historical and sociological study of chamber music in the eastern communist zone of Germany from 1949 to 1990. Chamber music here includes small ensembles for instruments and/or voices. Vetter shows how new chamber music was used by composers to experiment and to defy communist strictures because it remained an elitist kind of music, fully appreciated by professional musicians, students, and the “former” bourgeoisie. It flourished because it was practical in most cases of public ceremony to use small ensembles rather than large ones. Hausmusik, on the other hand, practically died out. Attempts to popularize chamber music among the workers and peasants failed because those groups had no background or education in what was heard. Vetter discusses many particular compositions and gives extensive lists of chamber music compositions. A definitive study. See also Manfred Vetter’s remarks in 675, pages 481–9. Hungary 591. Satory, Stephen. “String Quartet Composition in Hungary, 1958– 81.” PhD dissertation. University of Toronto, 1991. 313 pages. ISBN 0-315-69165-4. Shows 3 phases of string quartets during the years 1958–81: Hungarian quartets under the influence of Bartók, those influenced by the Second Viennese School, and those influenced by Lutoslawski and Penderecki. See also 845 and 2068. Ireland See 2338.

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Israel 592. Bohlman, Philip V. “Of Yekkes and Chamber Music in Israel: Ethnomusicological Meaning in Western Music History,” in Ethnomusicology and Modern Music History, eds Stephen Blum, Philip V. Bohlman, and Daniel Neuman (Urbana: University of Illinois Press, 1991), 254–67. Further ethnomusicological interpretation of the cult of chamber music by German emigrants of the 1930s to Israel. This community has regular amateur chamber music activities in private homes, usually on Friday and Saturday evenings, coupled with a ritual of tea beforehand and dinner afterwards. The conservative repertoire ranges mostly from Bach to Beethoven, though some later music is also sometimes included. 593. Bohlman, Philip Vilas. “The Land Where Two Streams Flow”: Music in the German Jewish Community of Israel. Urbana/Chicago: University of Illinois press, 1989. ISBN 0-2520-1596-7. xix + 257 + i pages. Originally PhD dissertation 1984. In the discussion on the German community in Israel, Bohlman includes a chapter on Hausmusik (pages 211–26) and in general (ad passim) discusses how crucial chamber music has been for this group. For the chamber music of Paul Ben-Haim, see 1068 and 1069. Italy 594. Kämper, Dietrich. Studien zur instrumentalen Ensemblemusik des 16. Jahrhunderts in Italien, in Analecta Musicologica, No. 10. Cologne/ Vienna: Böhlau, 1970. ML465.K23. ISBN 3-412-01771-X. vii + 280 + iii+ 39 pages. A good, scholarly introduction to the possibility of ensemble music in 16th-century Italy and how this became a distinctive genre by 1600. The stagnation of instrumental music to the mid-15th century was relieved by the rise in humanistic thought in the later-15th century that led to greater interest in purely instrumental music. The earliest instrumental music in this revival was étude music—bicinium and ricercar. “Fantasia” meant music free of vocal music, and the 16th century saw the process of instrumental music finding its own, non-vocal idiom. First, though, it developed out of vocal music. Special attention is given to dance pieces and the canzon da sonar in Brescia and Venice.

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595. Swenson, Milton Allen. “The Four-part Italian Ensemble Ricercar from 1540 to 1619.” PhD dissertation. Indiana University, 1971. UMI 71–21294. DAI xxxii.2A, p. 1004. 2 vols. I: analysis and commentary, II: 94 ricercari in score. 1307 pages. An historical analysis of the chamber ensemble ricercar from the time of Adrian Willaert to that of Antonio Cifra. Swenson defines “ricercar,” surveys past literature on the subject, and traces the development of different kinds of ricercar (lute, keyboard, a2-a8, a1). There are 3 kinds of ricercari among the 130, 4-part pieces studied: 1) spacious, conservative harmony, intricate counterpoint (Willaert’s associates, Merulo); 2) conservative harmonically but shorter and with livelier rhythm (A. Gabrieli); 3) brief, lively rhythm, experimental harmony, less intricate counterpoint, short motivic themes (Malvezzi, Peri, Raval, and Quagliati). 596. Bartholomew, Leland Earl. Alessandro Rauerij’s Collection of Canzoni per Sonare (Venice, 1608). Fort Hays: Fort Hays Kansas State College, 1965. ML 1133.B37. 2 vols. I: ix + 485 pages; II: x + 174 pages (mostly music). Print of typed dissertation, 1963. An historical, bibliographical, and analytical study of Canzoni per Sonare con Ogni Sorte di Stromenti (Venice: A. Rauerij, 1608). Bartholomew provides a collection of 36 works by 12 composers including G. Gabrieli, Claudio Merulo, Gioseffo Guami, Luzzasco Luzzaschi, and Frescobaldi. They are scored for 4, 5, 8 and 16 instruments + basso generale for organ (only 2 pieces have specific scoring: No. 33 for 8 trombones + basso generale, and No. 34 for 4 viols + 4 lutes + basso generale). Bartholomew outlines a history of the canzona in 16th-century Italy, especially Venice, and points to private music making (chamber music) as a possible setting for these canzone. Most of the discussion centers around editorial problems, analysis of the instrumental ensemble forms and structure, and data on the 12 composers. Volume II is an edition of the 36 canzonas in score, an important collection of early Baroque chamber music representing the culmination of the ensemble canzona after more than a quarter of a century of development. The collection’s importance for the early development of ensemble sonatas in the 17th century is discussed in Niels Jensen, “Solo Sonata … ” 297. For an outline of Italian violin sonatas in the 17th century, see Willi Apel, “Studien über die frühe Violinmusik” 307. See 349 for the development of the polyphonic canzona into the polyphonic sonata. 597. Schenk, Erich. “Beobachtungen über die modenesische Instrumentalmusikschule des 17. Jahrhunderts,” in Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, xxvi (1964), 25–46.

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Demonstrates that there was indeed an independent Modena School. Schenk shows that this Modena School of instrumental music extends back to the beginning of the 17th century. But with Uccellini’s tenure there (1641–65), it is really a school. It was important for trio sonatas. Thereafter, Giovanni Maria Bononcini (1673ff.), G.B. Vitali (1674ff.) and others who became their pupils led Modena. Schenk analyzes some of their works. 598. Bridges, David Merrell. “The Social Setting of Musica da camera in Rome, 1667–1700.” PhD dissertation. George Peabody College, 1976. UM 76–21617. DAI xxxvii.4A, p. 1861. 203 pages. Concerned with “all types of music that are not liturgical or not a part of a large dramatic work,” and finds an abundance of such music in Rome 1667–1700. 599. Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. New York/Washington: Praeger, 1975; London: Basil Blackwood, 1974. ML 290.8V26S4. ISBN 0-275-53670-X. xxv + 351 pages. 2nd ed. in Italian: La musica strumentale di Venezia da Gabrieli a Vivaldi. Edizioni RAI, 1980. 3rd ed. in English: New York: Dover, 1994. ISBN 0-486-28155. ML290.8.V26S4. xxvi + 411 pages. Numerous changes in the third edition, but especially the Addenda on pages 292–329, which adds to specific passages in the old text: clarification of sources and amplification of topics through new discoveries. The most nationalistic study of Italian string quartets is Fausto Torrefranca’s “Avviamento alla Storia del Quartetto Italiano” 248. But see also Verdi’s negative statement about string quartets in Italy in 2366. 600. Martinotti, Sergio. Ottocento strumentale italiano. Bologna: Forni Editore, 1972. ML290.4.M386. iii + 636 pages. A verbose but informative study of 19th-century Italian instrumental music, of which chamber music forms a considerable part. The book is in 5 sections: a general statement about the Romantic period; a survey of the instrumental institutions in 11 major Italian cities (including Trieste); a lengthy essay on Romanticism, Classicism, Neoclassicism, and Italy; discussion of specific composers and genres of Italian instrumental music; and an essay on music theory, criticism, and interpretation of 19th-century Italian instrumental music. Notable is the rash of string quartet ensembles originating in the 1860s, the central position of Florence, the intense interest in chamber music in a society that is usually thought to be only interested in opera, and the spate of local and visiting chamber music performers

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throughout the century (from Boccherini, Viotti, Paganini, Brunetti, Cambini, Bruni, Sgambati, Martucci, Donizetti, Busoni, Bazzini, and so on, to Ysaye, Joachim, Sarasate, and other internationally prominent chamber music artists). It is well indexed and organized, with sufficient endnotes after each chapter. For a discussion of Italian string quartets from Viotti to Paganini, see 258. For a study of the guitar quartets by Paganini, see 1962. For late 19th-century performance of chamber music in Italy see 2752 and 2770. 601. Untersteiner, Alfredo. “Musica Istrumentale da Camera,” in Gazetta Musicale di Milano, l (1895), 76–8. Points to the lack of interest in chamber music in Italy because of a preoccupation with opera, and notes that only 1 Italian publisher, no longer in business, has published chamber music scores. Yet such works are extremely important, and German publishers have provided scores. Untersteiner lists important works, mentioning that Verdi’s quartet is frequently performed in Germany and almost never in Italy. 602. Oleson, Orval B. “Italian Solo and Chamber Music for the Clarinet – 1900–1973: an Annotated Bibliography.” DMA dissertation. University of Missouri–Kansas City, 1980. UMI 81–07086. ix + 176 pages. A list by composer of pieces for clarinet a1 to a8 by Italian composers. Appendices give the list by title, by scoring, and chronologically. An introduction explains the methodology used by the author. Annotations include the composer, title, publishing data, range, duration, and further commentary. There are 88 chamber pieces (+ 8 solo clarinet works). Moldavia SSR 603. Miljutina, Izol’da. “Instrumental Chamber Music: Concerning a National Style,” in Evgenij Kletinic, ed. Muzykal’naya Kul’tura Moldavskoi. Moscow: Muzyka, 1978. RILM 78–894. In Russian. Not seen. The Netherlands 604. Wessem, Constant van. Het Musiceeren en Concerteeren in den Loop der Tÿden. Amsterdam: De Spieghel, 1929. ML 60.W468. 159 pages. A well-written, undocumented study of the development of ensemble music from the 16th to the 20th century, with special emphasis on the

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Netherlands. There are a few references to music before 1500. The book does not confine itself to our definition of chamber music; it includes any situation when 2 or more persons get together to make music, and this entails vocal as well as instrumental music, chamber as well as orchestral, and such different genres as string quartet and jazz. Wessem emphasizes the different private and public locales for such groups and the influences of England, Germany, Italy, and France on Holland. 605. Caughill, Donald I. “A History of Instrumental Chamber Music in the Netherlands during the Early Baroque Era.” PhD dissertation. Indiana University, 1983. UMI 84–6785. DAI xliv.12A, p. 3534. 561 pages. Identifies and evaluates “the constituents of the Dutch repertory for instrumental chamber ensembles produced during the early portion of the seventeenth century.” Caughill finds 68 works, of which 48 survive, which are described, classified, and analyzed. He includes the sociological nature of chamber music at the time, and concludes that this repertory is a combination of foreign and domestic stylistic elements. 606. Bunge, Sas, and Rutger Schoute. 60 Years of Dutch Chamber Music: 1913–1973. Amsterdam: Stichting Cultuurfonds Buma en Stichting Nederlandse Muziekbelangen, 1974. ML 120.N4B85. 32 pages. In English, Dutch, and German. List of chamber works organized by genre from trios to sextets, with title, scoring, date of writing, duration, publisher, recordings, premier, a facsimile of 2 pages of the score, titles of the movements, and commissions or prizes. The authors comment on the origins and basic structure of each piece. They give biographies of each of the 50 composers, with portraits. There is a summary index at end. For the account of a Dutch chamber musician 1922–45, see 2711. New Zealand 607. Turnovsky, Fred. “Chamber Music in New Zealand,” in The Canon: Australian Music Journal, vi (December 1952–January 1953), 229–32. An overview of the flourishing of chamber music in New Zealand after 1948. It points out the problems facing the continued visits of foreign chamber music artists and the lack of local performers. Turnovsky is concerned only with public performances and chamber music’s wide audience appeal.

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608. “Talking Strings; the New Zealand String Quartet in Conversation.” Music in New Zealand, No. 39 (Winter 2001), 28–35+. 609. Lam, Yuen Ching. “An Analytical Study of Alfred Hill’s String Quartet No. 2 in G Minor.” MA thesis. The University of Otago, Dunedin, New Zealand, 2007. 2 vols. Norway For an account of Ole Bull as a chamber musician, see 2707. For a history of Norwegian chamber music in the 19th century, see Harald Herresthal’s article in 717. 610. Kortsen, Bjarne. Modern Norwegian Chamber Music. Haugesund: n.p., 1965. 2nd ed. 1969. MT 140.K657.1969. xiii + 174. Includes solo as well as ensemble instrumental music. Kortsen presents biographies of 10 composers, an assessment of their total output, a bibliography, and an analysis of the more important chamber works. An opening essay “A Brief History of Chamber Music in Norway” from the early 19th century shows how women were barred from participating and the influence of Grieg and Ole Bull. 611. Kortsen, Byarne. Contemporary Norwegian Chamber Music. Bergen: Edition Norvegica, 1971. MT 140.K654. iv + 235 pages. Reproduced typescript with typing mistakes. A continuation of the author’s Modern Norwegian Chamber Music. Kortsen writes an essay on the 4 generations of contemporary Norwegian composers, and then an exposé on 20 such composers arranged alphabetically, with biographies, bibliographies, and an analysis of 1 or 2 important chamber compositions. The lengthy analyses are of motives, rhythms and tonality. Nineteen of the composers also in 612. 612. Norsk Komponistforeing (The Society of Norwegian Composers). Contemporary Norwegian Orchestral and Chamber Music. Oslo: Johan Grundt Tanum Forlag, 1970. ML 120.N6N7. 386 pages. Suppl. I, 1972. ML 120.N6N7.suppl. 88 pages. A list of the works of 76 Norwegian composers who belong to Norsk Komponistforeing, many of whom have written chamber music. Information includes dates of each composer and a very brief biography, portraits of most of the composers, titles, scoring, publisher (or manuscript), number of movements, duration, first performance, and recording. Chamber works are listed collectively on pages 324–44.

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613. Strauss, E. “The Risør Way: As a Local Chamber Music Festival Gradually Becomes More International, It Retains Critical Elements of its Norwegian Character.” Chamber Music, xxiii No. 2 (April 2006), 48–49. Poland 614. Poszowski, Antoni. “Polnische Instrumentale Kammermusik in der ersten Hälfte des 18. Jahrhunderts, dargestellt am Beispiel der ‘Sonata’ von S.S. Szarzynski,” in Eitelfriedrich Thom, ed., Musikzentren in der ersten Hälfte des 18. Jahrhunderts (Magdeburg: Rat des Bezirkes, 1979), 15–23. Not seen. For the story of Polish composer Dobrzynski and his chamber music, see 1352 615. Spóz, Andrzej, ed. Kultura Muzyczna Warszawy Drugiej Polowy xix Wieku. Warsaw: Pánstwowe Wydawnicturo Naukowe, 1980. ISBN 83-01-00491-6. In Polish. An account of music life in Warsaw in the 19th century, with a few pages devoted to chamber music (pages 234–38). Spóz names some composers and performers and gives photos of the Trio Wirtuozów Polskich (1897) and Quartet Smyczkowy Stanislava Barcewicza (1892). 616. Przybylski, Tadeusz. “Zapomniane kwartety symczkowe kompozytorow polskich II polowy XIX wieku: Paderewskiego, Pankiewicza, Rutkowskiego, Zelenskiego” [The forgotten string quartets of Polish composers from the second half of the 19th century: Paderewski, Pankiewicz, Rutkpowski, and Zelenski], in Maria Marchwica and Andrzej Sitarz, eds. Warsztat kompozytorski, wykonawstwo i koncepcje polityczne Ignacego Jana Paderewskiego. (Cracow: Katedra Historii i Teorii Muzyki Uniwersytetu Jagiellonskiego, 1991. ISBN 8-3233-0493-9), 149–160. Przybylski compares the variation style in Paderewski’s Variations in F major for string quartet with variation sets in the string quartets of Eugeniusz Pankiewicz, Antoni Rutkowski, and Wladyslaw Zelenski. 617. Pietrachowicz, Juliusz. “Polish Chamber Music for Brass Instruments since 1945,” in Journal of the International Trombone Association, vi (1978), 3–5. After a brief history of Polish brass chamber music from ancient times (12th century) to the present, there is a list of contemporary works. Composers names and addresses are given at the end.

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Puerto Rico 618. Rivera, Ernesto Alonso. “The String Quartet in Puerto Rico: Repertory and Organizations.” PhD dissertation. Catholic University of America, 2002. DAI, lxiii (September 2002), p. 808A. xiv + 424 pages. A study of the string quartet repertory of Puerto Rican composers from 1890 to 1992. Most of the pieces survive in manuscript, so it is useful that 3 of them are written out in the appendix. Chapters 1–2 deal with the secondary sources, quartet ensembles performing in Puerto Rico (which largely ignored works by Puerto Ricans), and an annotated bibliography to 1940. Chapters 3–5 go into more substansive analyses of quartets since 1940; the analyses are not highly technical and can be understood by the layperson. Puerto Rican composers include Gonzalo Nuñez (1850–1915), Federico Ramos y Buensont (1857–1927), José I. Quintón (1881–1925), Ramón Moriá Trenchs (1875–1953), Arístides Chavier Arévalo (1867–1942), Juan Peña Peyes (1879–1948), Héctor Campos Parsi (1922–98), Ignacio Morales Nieva (1928–), William Ortiz (1947–), Raymond Torres (1958–), Roberto Sierra (1953–), Francis Schwartz (1940–), Alfonso Fuentes (1954–), Jack Delano (1925–), Carlos Vázquez (1952–), and Javier de la Torre (1962–). Romania 619. Berger, Wilhelm Georg. Ghid Pentru Muzica Instrumentala de Camera. Bucharest: Editura Muzicale a Uniunii Compozitorilor din Republica Socialista Romania, 1965. ML 1100.B47. 415 pages. In Romanian. An overall history of chamber music from the early Renaissance (briefly) to 1965, with a final chapter devoted to the history of Romanian chamber music in the 19th and 20th centuries. Russia See also U.S.S.R. For an overview see Andrew Porter’s “Russian Chamber Music,” in Alec Robertson, ed. Chamber Music 212, pages 410–21. For an important discussion of Russian chamber music by Gerald Abraham, see Nicholas Kilburn’s Chamber Music and its Masters in the Past and in the Present 221. See also Brunn’s Kammermusik 195, iii, 153–69. 620. Berger, Wilhelm Georg. Instrumental’-nyi ansambl’ v Russkoi Muzyke. Moscow: Muzyka, 1961.39ML 1137.R2. 476 pages. 164 musical examples. In Russian.

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A basic history of Russian chamber music from 1800 to 1917. Berger includes all types of chamber music as well as vocal chamber music from pre-Glinka to the revolution. He mentions also performers, but the main interest is with composers and the place of their chamber music in 19th-century Russia. Glinka, Tchaikovsky, Glazunov, Arensky, Rachmoninof, and Taneiev get the most attention. 621. Seaman, Gerald. “The First Russian Chamber Music,” in The Music Review, xxvi (1965), 326–37. An analysis of some early Russian chamber music (mostly string quartets) from the end of the 18th century into the mid-19th century, including works of Ivan Ivanovich Vorobëv (1776–1838), Ferdinand Titz (1742–1810), D.S. Bortnyansky (1751–1825), and A.A. Aliabev. All were influenced primarily by foreign art forms, but all also incorporated Russian folk tunes and romances. This is well documented with leads for the scholar who wishes to go more deeply into the subject. 622. Seaman, Gerald. “Amateur Music-Making in Russia,” in Music and Letters, xlvii (1966), 249–59. Seaman documents a very active chamber music life in the noble homes of 18th-century Russia. The classical chamber music of Italy, France, Germany, and England was very popular, especially string quartets, and also popular were chamber music arrangements of opera arias. Seaman mentions many composers of chamber music popular in Russia—the Mannheimers, Pugnani, C.P.E. Bach, Giardini, Abel, Vanhal, among others—and dwells somewhat on the chamber music of Mozart, Haydn, and Beethoven in Russia. Landowners had their own chamber music performed by serfs whom they had trained in the art by sending them to Italy as youngsters. Chamber music was also performed at the homes of poets and artists, professors and writers. Glinka and his successors were brought up on this rich enthusiasm for chamber music. 623. Sinjavskaya, L. “The Origin of the Russian Quartet,” in Nina Vol’per, ed. Tradicii Russkoi Muzyki xvii–xix (Moscow: Gosudarstvennyi Muzykal’no-Pedagogiceskii Institut Imeni Gnesinyh, 1978). RILM 78–2444. A description of chamber music clubs and concerts in Russia from the 1760s to 1804 is in Anne Mischakoff ’s book 1699. For a description of the Russian Chamber Brass School, see David Reed’s dissertation 1394, and for a study of 20th-century Russian cello music see Mary Dresser’s dissertation 336. See 275 for the Russian string quartet in the 20th century.

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624. Altmann, Wilhelm. “Die Kammermusik der Russen,” in Die Musik, vi.3 (1906–7), 28–40. Points to the huge amount of chamber music coming out of Russia— almost more than out of Germany and France together. Altmann gives a survey, mentioning Glinka and excluding almost all of Anton Rubinstein (too non-Russian). It starts really with Nicolaus Afanasieff in 1860, who evokes a Russian character (melancholy from folk music, tenderness from quick changes in emotions, and dance rhythms in unusual meters). The Russians have a preference for variations and string quartets. Altmann discusses chamber music from 1860 to 1905 by genre (string quartets, string trios, string quintets, and so on, including sonatas and 1 work with winds). 625. Nerody, Ivan. “Russia’s Work in Chamber Music,” in Musical America, xiv (May 18, 1912), 23. Notes that Russian chamber music dominates the field of international composition. This is not a history but an outline of its general character. Nerody dismisses Glinka’s and A. Rubinstein’s chamber music as either inferior or not Russian, and then goes into detail with Nicolas Afanasieff ’s first string quartet “Volga” (1860), a tone poem, which is more impressive for its rhythm than its harmony. He contrasts the Moscow and St. Petersburg schools. 626. Tsareva, Ekaterina. “Brahms’ Kammermusik in Russland 1870–1900.” Internationaler Brahms-Kongress Gmunden 1997. Kongressbericht. Veröffentlichungen des Archivs der Gesellschaft der Musikfreunde in Wien, i (Tutzing: Hans Schneider, 2001, ISBN 3795210828), 215–26. A fascinating account of how musicians and critics in St. Petersburg and Moscow accepted Brahms’ chamber music between the 1870s and the end of the century. There were 2 outstanding quartet ensembles in St. Petersburg at the time: the first led by Leopold Auer (Davidowsky was the violoncellist) and the second by the brothers Eugen and Ludwig Albrecht. Moscow had one, whose second violinist was Adolf Brodski, a pupil of Joseph Hellmesberger and later a renowned interpreter of Brahms’s and Tchaikovsky’s concertos. Tsareva includes dates of performances of specific pieces. Pianists often performed with these ensembles. This study is important not only for the history of Brahms’s reception in Russia but also for the history of chamber music in Russia. Scandinavia 627. Kube, Michael. “Im nordischen Salon: zur Geschichte des Klaviertrios in Skandinavien.” A Due: Musical Essays in Honour of John D.

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Bergsagel & Heinrich W. Schwab, eds. Ole Kongsted, Niels Krabbe, Michael Kube, and Morten Michelsen (Copenhagen: The Royal Library & Section of Musicology, University of Copenhagen, on consignment at Museum Tusculanum Press, 2008), 453–73. A brief introduction to Scandinavian piano trios. It begins with a 3movement piano trio (sonata) by Joseph Martin Kraus (1756–92) performed at the Swedish court and influenced by trios, string quartets, and concertos that he heard while traveling in Germany and Austria. Berwald (1850s) treats the instruments more equally in his trios and, therefore, stands as an outsider. Gade’s piano trio was very popular as Hausmusik, and Grieg wrote only 1 movement for piano trio. Lesser composers Toivo Kuula (1883–1918), Emil Hartmann (1836–98), and Sveinbjör Sveinbjörnsson (1847–1927) use folk material, but others do not try to be nationalistic. The repertory in public trio performances and in local publications is covered, and the Sibelius family is mentioned. 628. Oelmann, Klaus Henning. “Zu Tradition und Rezeption des Streichquartettes im Skandinavien des 19. Jahrhunderts.” Die Tonkunst Online, i (November 2004), 4(11). Addresses questions raised by Harald Herresthal and Friedhelm Krummacher in recent publications, focusing on the reception of string quartets by Friedrich Kuhlau (No. 1 in A minor, Op. 122), Franz Berwald (No. 4 in E-flat major), Edvard Grieg (No. 2 in G minor, Op. 27), and Carl Nielsen (No. 1 in G minor). Regarding the composers’ relation to the string quartet tradition in Central Europe, MendelssohnBartholdy’s Op. 13 may have served as a model. 629. Anderson, Martin. “Look to the North (Nordic Chamber Music).” The Strad, cxiii (January 2002), 32–4+. See 685 for a study of the quartets of Gade and Berwald. See 701 for a study of the quartets of Nielsen and Stenhammar. Serbia 630. Metsk, Juro. “Das Streichquartett der sorbischen Musikkultur vor 1945: historisch-analytischer Überblick,” in Beiträge zur Musikwissenschaft, xx (1978), 199–218. A general explanation of the dearth of great Serbian art music and especially chamber music before the 19th century and even afterwards. Then Metsk discusses and describes the string quartet of Korla Awgust Kocor (1822–1904), the founder of Serbian art music,

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and the 3 string quartet works of Bjarnat Krawc (1861–1948). Their absolute worth and nationalistic significance are also discussed from a Marxist standpoint. See also 2767. South Africa See 60. Spain 631. Russell, Craig H. “An Investigation into Arcangelo Corelli’s Influence on Eighteenth-Century Spain,” in Current Musicology, No. 34 (1982), 42–52. A scholarly study demonstrating the popularity of Corelli’s music in 18th-century Spain and showing specific Spanish arrangements of Corelli’s sonatas. Russell draws on Spanish theoretical writings. 632. Sanchez, Richard Xavier. “Spanish Chamber Music of the Eighteenth Century.” PhD dissertation. Louisiana State University, 1975. UMI 76–12938. DAI xxxvi.12A, p. 7725. xiii + 298 pages. First, a discussion of the history of Spain in the 18th century and of Farinelli, D. Scarlatti, and Boccherini who lived extensively in Spain. Then there is a discussion of Spanish composers of chamber music during the second half of the 18th century. The principal types were solo and trio sonatas, duets for treble instruments, and string quartets. The leading composers were Manual Canales, José Herrando, Francisco Manalt, Juan Oliver y Astorga, Juan Pla, José Pla, Manual Pla, Antonio Soler, Antonio Ximenez, and Nicolas Ximenez. Their works are compared with the prevailing Viennese works of the time: the Spanish works are a mixture of Baroque and Classical styles but only rarely are there any typical Spanish folk idioms. The appendix contains a list of all known Spanish composers of chamber music, their works, and where the music can be found. 633. Hollis, George Truett. “Inventario y Tasación de los Instrumentos y Papeles de Musica, de la Testamentaria del Exmo. Señor Don Fernando de Silba Albarez de Toledo, Duque que fue de Alba (1777).” Anuario Musical, lix (2004), 151–72. Includes abstract in English and Spanish. An inventory of the vast chamber music holdings in the library of the twelth Duke of Alba in 1777. This is a valuable document in

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demonstrating the importance of Madrid for chamber music in the 18th century. There were over 1,000 pieces of chamber music by French, German, Italian, Bohemian, and Spanish composers. The inventory also includes the Duke’s collection of instruments used in playing the chamber music manufactured by famous Italian instrument makers. For chamber music as practiced in the House of Alba, see Subirá’s study 2735. See also 2771. 634. Subirá, José. “La Música de Cámera en la Corte Madrileña durante el Siglo XVIII y Principios del XIX,” in Anuario Musical, i (1946), 181–94. A brief account of chamber music at the courts of Fernando VI, Carlos III and Carlos IV in the second half of the 18th century when chamber music flourished. The Spanish composers who were there are basically forgotten, but not so the foreigner Boccherini. In 1769, he dedicated his Op. 8 quartets to Carlos’s brother Luis and in 1770, his Op. 9 quartets to Messieurs les dilettantes de Madrid. Subirá gives other documentation to show an active chamber music life at court and among Madrid society. He discusses Boccherini’s rival Gaetano Brunetti. He gives many names and some brief biographical information of 18th-century Spanish composers and publishers whose works are in the Biblioteca Nacional in Madrid and in the Palacio Nacional de Madrid. This article serves as an introduction, since many details are omitted from the study. 635. Castro y Serrano, José de. Los Cuartetos del Conservatorio: Breves Consideraciones sobre la Música Clássica. Madrid: Centro General de Administracion, 1866. ML 315.8M13C18. 220 pages. This book was an introduction to chamber music, especially string quartets, for mid-19th-century Spaniards who had become aware of it through a series of concerts of quartets at the conservatory in Madrid. The author discusses the structure, form, essence, and history (Haydn, Mozart, and Beethoven) of the quartet and compares these 3 composers in an essay to Leonardo da Vinci, Rafael, and Michelangelo. A final chapter considers the future of Spanish music, which must be firmly rooted in the science and tradition of Western music. This book gives a good picture of the state of chamber music in mid-19th-century Spain by an intelligent and probing writer. 636. Heine, Christiane. “El cuarteto de cuerda en el Concurso Nacional de Musica de 1949.” Joaquin Rodrigo y la musica espanola de los anos

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cuarenta, Javier Suarez Pajares, ed. (Valladolid, Spain: Universidad de Valladolid, 2005, ISBN 8493220930). For discussion of 3, 20th-century Spanish violin + piano sonatas, see Laura Klugherz’s dissertation 1840. Sweden 637. Wallner, Bo. Den Svenska Sträkkvartetten: Del I: Klassicism och Romantik, in Kungl. Musikaliska Akademiens Skriftserie, No. 24. Stockholm: Kungl. Musikaliska Akademien, 1979. ML 1160.W34. ISBN 91-85428-12-4. 170 pages. 55 musical examples. A history of Swedish quartets, from Anders Wesström (c.1720–81) and Joseph Martin Kraus (1756–92) to Algot Haquinius (1886–1966) and Edvin Kallstenius (1881–1967), with analyses of their music. 638. Brodin, Gereon. “Svensk Kammarmusikbibliografi,” in Ur Nutidens Musikliv, v (1924), 24–31, 66–8, 94–102, and 120–3. A catalogue of 18th- to 20th-century Swedish chamber music systematically organized by whether it is without or with piano, then by size of the ensemble, instrumentation, and finally alphabetically by composer. Gives title, scoring, and publisher (in those few cases when not in manuscript). Items are in the Musikaliska Akademiens Library, the Royal Library, and the Uppsala Library, but items in Lund are not included. Brodin includes winds and strings. At the end, there is a brief listing of less well-known composers. For a discussion of nationalism in the string quartets by Berwald, see 685 and 1091, and for a discussion by Stenhammar, see 701 and 2321–2324. 639. Hedin, Einar. Mazerska Kvartettsällskapet 1849–1949: Minnesskrift pa Uppdrag av Sällskapets Styrelse. Stockholm: Lindbergs, 1949. ML 1142.8.S8M35. 129 pages. A detailed history of a quartet society in Stockholm named after Johan Mazer (1790–1847), written to commemorate the society’s centennial in 1949. The membership performed the music itself, but on rare occasions outside professionals would come to give concerts, such as Leopold Auer in the 1860s. Hedin discusses the programs, the membership, and the organization of the society. 640. Föreningen Svenska Tonsättare. Förteckning över Svenska Kammarmusikverk. Mimeographed, 1940. ML 120.S8F52. 16 pages + supplement of 3 pages.

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Alphabetical list of Swedish composers of chamber music born from the mid-19th century to the early-20th century and a chronological list of the titles under genre under each composer. The list includes title, publisher, and duration. 641. Broman, Sten. “Salomon Smiths Kammarmusikförening,” in Musikrevy, xv (1960), No. 7, 231–2. In the season 1959–60 the Smiths Kammarmusikförening was the oldest continual concert society for chamber music in Scandinavia. It started in 1909 in Malmö, and was originally called Malmö Kammarmusikförening; from 1920 to 1928 it was called the Sydovenska Kammarmusikförening, and it was named after Smith in 1928. Smith was a patron (a pharmacist) who played second violin or viola. Broman gvies a brief account of the various foreign and domestic groups that the society brought to Malmö and Lund. 642. Hellquist, Pers-Anders. “Svensk Kammarmusik i Dag,” in Musikrevy, xvi (1961), No. 7, 239–41. Not seen. See also 1092. Switzerland 643. Eder, Leo. “Hausmusik in Basel,” in Schweizerische Musikzeitung, xciv (1954), 230–3. Reminiscences of personal experiences of playing Hausmusik (chamber music) over a 50-year period in Basel. Eder reveals various customs (such as, it was considered rude for many years to play without a jacket on) and gives some advice. 644. Staehelin, Martin. “Basels Musikleben im 18. Jahrhundert,” in Die Ernte: Schweizerisches Jahrbuch, xliv (1963), 116–41. Points out that although famous Swiss composers and concerts are a matter of the present, they did not exist in the past. Basel, for one, had a flourishing Hausmusik in the 18th century. It grew out of the strong tradition of singing psalms at home and in school. Students organized collegia musica in the 17th century before the Germans did, and these developed in some cases into concert societies. Staehelin goes into detail on groups found in 1692 and afterwards, when singing was important. In 1708, professionals were admitted to the collegia musica. Singing seems less important later in

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the 18th century, when orchestras and trios were in private homes. The Swiss showed evidence of considerable taste and awareness of the best music of the day, even if in other cases the quality was not so good. 645. Schanzlin, Hans Peter. Basels private Musikpflege im 19. Jahrhundert, in Basler Neujahrsblatt, No. 139. Basel: Helbing & Lichtenhaln, 1961. Harvard Swi 28.1.3. 58 pages. After a brief survey of Hausmusik in Basel from the Middle Ages to 1800, a detailed study of its practice there in the 19th century. While in the past, the church, the few educated people and the priviledge ones furthered musical life, in the 19th century it was democratized—for everyone—with public concerts, music societies, public music schools, and middle class Hausmusik. As Hausmusik grew in the early 19th century, so did a new repertory for it: simple pieces and arrangements. At first, Haydn and Mozart were popular, but not Beethoven. Schanzlin shows vocal and piano as well as chamber music and discusses specific professional and amateur musicians and homes where chamber music was performed and describes repertory and audiences. The work is based on many documents. It is maledominated, except for female singers and a special visit by Clara Schumann. Ukraine 646. Kon’kova, Galina. “Certy Novogo v Prelomlenii i Razvitii Zanrov v Ukrainskoi Muzyke 60–70 Godov.” PhD dissertation (theory). Kiev, Institut Iskusstvovedenija, Fol’klova i Etnografii Akademii, 1978. RILM 78–3052. 28 pages. In Russian. Discusses symphony, chamber, cantata, and oratorio in Ukrainian music in the 1960s and 1970s, with special attention to the use of folk material. 647. Borovik, Nokolai. “Development Trends in Instrumental Chamber Music,” in Ivan Ljasenko, ed. Muzykal’naya Kul’tura Ukrainskoi SSR (Moscow: Muzyka, 1979). RILM 79–849. In Russian. Not seen. Union of Soviet Socialist Republics (U.S.S.R.) See also Armenia, Azerbaijan, Georgia, Moldavia, Russia, Ukraine, and Uzbek.

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648. Raaben, Lev Nikolaevich. Sovetskaia Kamerno-Instrumental’naia Muzyka. Leningrad: Muzyka, 1963. ML 1137.R23. 340 pages, 47 musical examples. A history of Soviet chamber compositions from 1917 to 1963. It covers Russia first, and then many of the republics individually: Ukraine, Belorussia, Moldavia, Georgia, Armenia, Azerbaijan, and so on. This is a continuaton of 620. 649. Raaben, Lev Nikolaevich. Mastera Sovetskogo Kamerno-Instrumental ’nogo Ansambliia. Leningrad: Muzyka, 1964. ML 1137.R22. 180 pages. 16 portraits of chamber groups. A history of Soviet chamber performing ensembles from 1917 to 1964, including chamber orchestras. It deals with 4 different periods, and the major groups in each: the period of the revolution, the 1920s, the 1930s–1940s, and the preiod from 1945 to 1964. String quartets were the most popular, so Raaben concentrates on them. 650. Leszczynska, Elzbieta. “Radziecka Muzyka Kameralna,” in Prace Specjalne Panstwowa Wyzsza Szkola Muzyczna w Gdanásku, viii (1975), 43–52. RILM 78–5304. In Polish, with Russian summary. Notes the decline in interest for chamber music in the U.S.S.R. following the revolution, and then studies some chamber music by Myaskovsky, Prokofiev, Shebalin, and Shostakovich. 651. Ratskaia, Tsetsiliia Samoilovna. Sovetskaia Kamernaia Muzyka. Moscow: Znanye, 1965. ML 1137.R3. 80 pages. First gives the West European roots of U.S.S.R. chamber music, and then goes into the Soviet period. Ratskaia stresses the necessity of lyricism and the importance of chamber music as a link between nations. The book concentrates on Myaskovsky and Shostakovich. A third of it deals with vocal chamber music. This is written for the layperson. 652. Petrushanskaia, Remma Eosefovna. Kamernaia Muzyka, in Novoe v Zhizni, Nanke, Tekhnike, seria “Iskustvo,” No. 9. Moscow: Znaneia, 1981. NX 6.N6.1981. No.9. 48 pages. For the layperson, an introduction to the history of chamber music in the West, in 18th-century and 19th-century Russia, and in the Soviet Union (half the book). It defines chamber music as musica da camera, by a limited number of performers, intimate, and opposed to opera and church music. See Lev Ginsburg’s “Die Kammermusik in der modernen Musikpraxis: nach dem Erfahrungen der sowjetischen Interpretationsschule” in 675, pages 23–35.

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653. Boelza, Igor. “New Soviet Chamber Music,” in Tempo, xii (September 1945), 40–1. Brief descriptions of Glière’s String Quartet No. 4, Myaskovsky’s String Quartet No. 9, Shebalin’s String Quartet No. 6 and a Sonata for Violin + Cello (claims to be the first such work ever written by a Russian), and Shostakovich’s String Quartet No. 2. 654. Uspenskij, Vladislav, and Abram Jusfin. “Sovremennaja Tema v Tvorcestva Leningradskih Kompozitorov,” in Sovetskaja Muzyka, iv (April, 1975), 26–35. In Russian. Contemporary themes in the works of Leningrad composers. Among other topics, the authors consider chamber genres in the music of Leningrad composers. 655. Blagoj, Dmitrij, “Trends in Performance Practice of Soviet Chamber Music,” in Vladimir Grigor’ev and Vladimir Natanson, eds. Muzykal’noe Ispolnitel’stro, X (Moscow: Muzyka, 1979). RILM 79–1608. In Russian. See also 2093 that describes the climate for composers in the Soviet Union after the Second World War and into the 1960s, post-Krushchev. Various items, such as 2274 concerning Shostakovich, describe Soviet chamber music. United States of America General For a chronological history with some analysis for the layperson, see David Drew’s “American Chamber Music,” in Alec Robertson, ed. Chamber Music 212, pages 321–8. 656. Phelps, Roger Paul. “The History and Practice of Chamber Music in the United States from Earliest Times up to 1875.” PhD dissertation. University of Iowa, 1951. DD xviii (1951), p. 220. 2 vols. xx + 991 pages. In its day the most exhaustive study of American chamber music; it remains the only good overall history of early chamber music in the United States despite many details that need updating. It covers 3 epochs: before 1800, 1800–1849, and 1850–75. Each epoch is divided into regional studies (I: New England, South Atlantic Coast, and Middle Atlantic states; II: the same, with Middle West; III: same as II, with South extended to Texas). Appendices include valuable

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documentation, such as catalogues of important collections, representative programs, 12 musical examples by Americans, bibliography (extensive, though dated, and includes many important non-musical sources), and indices of composers, performers, and titles. Phelps shows that chamber music existed in New England in the 17th century. 18th Century Other important introductions to early American chamber music are Anne Schaffner’s “The Modern String Quartet in American before 1800” 259, Marie Stolba’s “Evidence for Quartets by John Antes, American-Born Moravian Composer” 770, John Barker’s “The Birth of Chamber Music in America,” in The American Record Guide, xxxii (1965), 34–36, and Harry Hall’s “The Moravian Wind Ensemble: Distinctive Chapter in America’s Music” 396. 18th to 19th Centuries 657. Hermann, Myrl Duncan. “Chamber Music by Philadelphia Composers 1750 to 1850.” PhD dissertation. Bryn Mawer College, 1977. UMI 78–01379. DAI xxxviii.9A, p. 5114. 334 pages. An historical and biographical account of chamber music in Philadelphia 1750–1850. Among the composers listed are natives Charles Hommann and William Henry Fry, non-Philadelphian Benjamin Franklin, and foreigners John Gualdo, Jean Gehot, John Christopher Moller, Raynor Taylor, Benjamin Carr, Philippo Trajetta, Leopold Meignen, Robert Bremner, J.C. Schetky, and R. Shaw. The list also includes patrons, performers, and critics. 18th to 20th Centuries 658. Farwell, Arthur. “Music in America,” in The Art of Music, iv, ed. Daniel Gregory Mason (New York: The National Society of Music, 1915), 201–5. 780.9 Ar7. A brief part of Chapter 8 deals with chamber music ensembles in America to 1915, written by W. Dermot Darby. This gives a short pioneering history of chamber music ensembles in the United States. 659. Graziano, John, ed. American Chamber Music, in Three Centuries of American Music, Vol. viii. Boston: G. K. Hall, 1991. 0-8161-0549-9. M2.3U6T5.1989.Vol. 8.

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A collection of representative American chamber music by Raynor Taylor, Charles Homann, Léopold Meignen, William Henry Fry, Arthur Foote, Horatio Parker, and Amy Beach. 660. Warburton, Thomas. “Historical Perspective of the String Quartet in the United States,” in American Music Teacher, xxi (January 1972), No. 3, 20–2, 37. An interesting, yet unscholarly and inconsistent account of American quartets and quintets from the late 18th century to the 1960s. It is concerned with the acceptance of quartets by the public and with the compositions themselves. It is full of names of composers, performers, and reviewers. Warburton shows the growth of the American string quartet from a European-dependent work to an American work. He describes a few compositions in detail by Chadwick, Mason, Griffes, Ives, Gershwin, Cowell, Carter, and Mel Powell. 661. Smith, Nancy Page. “The American String Quartet, 1850–1918.” MA thesis. University of North Carolina at Chapel Hill, 1949. 143 pages. 662. Shirey, Betty. “String Quartets by American Born Composers.” MM thesis. University of Cincinnati, 1949. 74 pages. 19th Century 663. Olsen, Deborah M. “Music in an American Frontier Communal Society,” in Brass Bulletin, No. 33 (1981), 49–58, No. 34 (1981), 13–22, and No. 36 (1981), 64–77. In English with French and German translations. An interesting chronicle of the city of Aurora, Oregon, founded in 1856 by the religious leader William Keil. Music was important from the start, and although only a small portion of the article concerns chamber music, it is testimony to the diffusion of high level chamber music in frontier North America in the 1860s. See James Starr’s “A Critical Evaluation of Performance Style in Selected Violin Works of Nineteenth Century American Composers” 335. 19th to 20th Centuries 664. Tuthill, Burnet Corwin. “Fifty Years of Chamber Music in the United States 1876–1926,” in The Musical Courier, xcix (August 17, 1929), 8, (August 24), 15, 20, (August 31), 10.

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A review of this important phase of American chamber music, beginning with a brief account of groups before 1876: the MasonThomas Quintet of New York (1855–68) and the Mendelssohn Quintet Club of Boston (1849–98). Then Tuthill reviews the Kneisel Quartet (1885–1917) of Boston, the Flonzaley Quartet, Berkshire Quartet ( = Kortschak Quartet of Chicago), the Elshuco Trio, Gustav Dannreuther Quartet, New York String Quartet, Chicago Quartet, Gordon Quartet of Chicago, Musical Art Quartet, Zoellner Quartet of Los Angeles, Olive Meade Quartet (all female), Marianne Kneisel Quartet, Margulies Trio, Sittig Trio, Tollefsen Trio, Barrere Ensemble, Longy Club, New York Chamber Music Society, and more. He gives the names of members and some dates, and also describes some amateur home chamber music in New York, Washington, D.C., Cincinnati, and Mt. Airy, N.C. Tuthill seems unaware of chamber music before George Chadwick’s Quartet No. 1 (1878), but discusses American compositions for chamber groups by Arthur Foote, Mrs. H.H.A. Beach, Camille Zeckwer, Jacobi, Carpenter, Griffes, John Powell, Loeffler, Rubin Goldmark, and the expatriots Roy Harris, Roger Sessions, and Aaron Copland (then living in France). 665. Rice, Edwin T. Musical Reminiscences, ed. Margaret and Helen Rice. New York: Friebele Press, 1943. ML 429.R5A3. 123 pages. A collection of finished and not so finished essays by a leading patron and witness of chamber music in America’s north-east coast during the first 3 decades of the 20th century. Rice includes information on the Kneisel Quartet, Edward J. de Coppet, and the Flonzaley Quartet (especially about a legal battle between the violist Bailly and the Flonzaleys). The New York Public Library contains this volume together with 5 volumes of manuscript notes taken at chamber music meetings 1887–c.1915 in New York (JOG.73–198-Rice-Diaries, in the Music Special Collections). 20th Century For bibliographies of chamber music by African-American composers, see 42, 71, 93, 95, 156, 170, and 171. See 275 for American string quartets in the 20th century. For a list of American piano trios, see 420. 666. Meyer, Felix. “‘The Lunatic Fringe of Modern Music’? Streichquartette aus dem Umkreis des amerikanischen ‘Ultramodernismus.’” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed. in Schriftenreihe der

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Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 69–86. Concentrates primarily on the works of Henry Cowell and Ruth Crawford Seeger, who sought not to follow tradition but to break new paths. 667. Cadzow, Dorothy. “Contemporary American Chamber Music,” in International Musician, xlvii, No. 10 (April 1949), 31–3. A description of the leading American composers of chamber music in the 1940s and mention of some of the Europeans who were in America before that time who have had an impact. Cadzow mentions support groups: League of Composers, Society for the Publication of American Music, National Association for American Composers and Conductors, Composers’ Forum, and National Federation of Music Clubs. She gives a list of representative American chamber music. 668. Anon. “Chamber Music by Contemporary American Composers,” in National Music Council Bulletin, xiii (January 1953), 18–20. A modest list of chamber music by Americans available in 1953 in print. It is organized by genres (strings, woodwinds, brass, combinations with piano, and other combinations) with author, title, scoring, and publisher. 669. United States Information Agency. Catalogue of Published Concert Music by American Composers. Washington, D.C.: U.S. Government Printing Office, 1964. ML 120.U5I45. 175 pages (for chamber music, see pages 91–120). List organized by instrument, solo or ensemble, and then alphabetically by composer. It includes title, scoring, publisher. The list includes 75 composers of string quartets, 37 composers of woodwind quintets, 28 composers of brass duets, trios and quartets, and more. Other aspects of 20th-century American chamber music are listed or studied in William Bedford’s “Elizabeth Sprague Coolidge … ” 2747, Daniel Gregory Mason’s “The Flonzaley Quartet” 2634, Roger Chapman’s “The American String Quartet: 1924–49” 82, Arno Drucker’s “A Chronological Survey … Trios for Piano, Violin, and ‘Cello … ” 421, Theodore Tyska’s “Technical Problems in Contemporary American Violin Sonatas” 339, Peter Theodore’s “A Survey of Published Sonatas and Sonatinas for Flute by American Composers since 1920” 340, Daniel Geeting’s “A Comparative Study of Sonatas for Clarinet and Piano Published in the United States from 1950–70” 341, Mari Hammer’s “History of Louisville’s Chamber Music Society” 2757,

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and Brian Walls’s “Chamber Music in Los Angeles, 1922–54: A History of Concert Series, Ensembles and Repertoire” 2755. 670. Silliman, A. Cutler. “A Study of Musical Practices in Selected American String Quartets, 1930–50.” PhD dissertation. University of Rochester, 1954. DD xxi (1954), p. 255. 215 pages. Discussion of specific structural elements in 19 quartets by Samuel Barber, William Bergsma, Ross Lee Finney, Roy Harris, Walter Piston, Quincy Porter, Wallingford Riegger, Roger Sessions, William Schuman, and Randall Thompson. The elements discussed are harmonic texture, tonal texture, cadences, linear procedures, internal form and larger forms. These quartets do not depart radically from earlier quartets and display “the characteristics of contemporary music which are likely to endure.” All of them are tonal, tertial and quartal harmonies prevail, the texture is mainly contrapuntal, continual cyclic and organic growth are featured, most movements are in traditional large forms, and the frequent use of a third progression at cadences is typically American. 671. Rao, Nancy Yunhwa. “Elucidating Stylistic Difference in Post-Tonal Compositions from a Trichordal Perspective: Commonality and Individual Styles in Selected Compositions of Milton Babbitt, Arnold Schoenberg, Ruth Crawford Seeger, and Elliott Carter.” PhD dissertation. University of Michigan, 1994. 323 pages. DAI Vol. lvi (July 1995), p. 27A-8A. Deals with 3 important American string quartets: Babbitt’s Quartet No. 2, Ruth Crawford’s String Quartet, and Schoenberg’s Quartet No. 4. Uzbek SSR 672. Golovjanc, T. “The History of Chamber Music Performance Practice in Uzbekistan,” in Vladimir Plungjan, ed. Teoreticeskie Problemy Uzbekskoj Muzyki. Tashkent: University of Tashkent, 1976. RILM 76–4947. Not seen. Yugoslavia 673. Rijavec, Andrej. “Novejsi Slovenski Godalni Kvartet,” in Muzikoloski Zbornik-Musicological Annual, ix (1973), 87–107. Summary in English. Notes that Slavonic composers have made significant contributions to 20th-century string quartets, beginning with Slavko Osterc’s

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Second Quartet (1934), but more importantly with Lucijan Marija Skerjanc’s Fifth Quartet (1945), Ivo Petric’s Quartet (1956), Vilko Ukmar’s Third String Quartet (1959), and others. These quartets demonstrate a wide variety of styles and techniques including neoromanticism, neo-classicism and much more modern improvising types. Rijavec offers an analysis of important characeristics of each of these works.

III Analytic Studies

AESTHETICS AND DEFINITIONS Some studies attempt to deal with chamber music’s role in aesthetics, or at least to justify chamber music as a proper form of art for humankind. In the course of some of these discussions, basic definitions of the concepts “chamber music,” “Hausmusik,” and “ensemble music” are grappled with. Definition of Chamber Music 674. Reimer, Erich. “Kammermusik,” in Handwörterbuch der musikalischen Terminologie. Wiesbaden: Franz Steiner, 1971. 13 pages. The most important overview of the term “Kammermusik” (chamber music) from the 16th century to 1971. It systematically gives definitions and usages of the term from Vincentino (L’Antica musica [Rome, 1555], f. 37), who distinguished singing loud in church from singing softly in musica da camera, to Klaus Huber (James Joyce Chamber Music, 1969) who used the term chamber music for harp, horn, and small orchestra. 675. Pecman, Rudolf, ed. Colloquium Musica Cameralis Brno 1971, in Colloquia on the History and Theory of Music at the International Music Festival in Brno, Vol. 6. Brno: Cesky Hudebni Fond, 1977. NYPL JMK 75–20. Vol. 6. 568 pages. An important collection of 41 essays, 38 in German and 1 each in English, Russian, and French. There are 5 overall topics: theory, 194

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aesthetics and sociology of chamber music; Bohemian chamber music; definition of chamber music; European chamber music; and 20thcentury chamber music. Most of these fit into my definition but some do not. Essentially, chamber music is intimate music. All the participants debated the meaning of chamber music: some on the basis of surveys of commonly held definitions of the term by ordinary people. 676. Alain, Olivier. La Musique de Chambre, in Cahiers du Journal Musical Français, No. 13. Paris: Société Française de Diffusion Musicale, [1955]. NYPL *MG/p.v.273. 48 pages. Opens with an essay on the essence of the intimacy of chamber music. Then Alain discusses the chamber music of the kings of France, the distinction between da camera and da chiesa, and the 20th-century concept of chamber music as secular works for 10 or fewer solo instruments. He finds the listener “imprisoned” by the professional performer and the professional performer “imprisoned” by the listener, rather than the performer and listener being as one. The professional depends on mass taste and mass taste is not toward chamber music; therefore, one must courageously invite youth to discover chamber music where the highest realizations of the human spirit are to be found. Alain reviews instruments used in chamber music and the history of chamber music from the 16th century to 1950. He ends with a systematic list of possible combinations of instruments in chamber music and mentions a few composers who have written for them. 677. Genin, R.E. “Essai d’une Definition de la Musique de Chambre,” in La Revue Musicale, No. 232 (1956), 4–14. Brief definition of chamber music as secular, intimate, instrumental music distinguished by purity, autonomy, and evocation. Included are 19 portraits of chamber ensembles (Loewenguth, Barylli, New-Music, Parrenin, Pasqual quartets and Quartetto Italiano, and several trios, duos, and soloists). 678. Miller, Lucy. “Examing the Culture of Chamber Music,” Chamber Music, xvii, No. 2 (Spring 2000), 56–8. Brief statements by board members of Chamber Music America on what chamber music is. 679. Eidenbenz, Michael. “Was eigentlich ist Kammermusik?” Musik & Theater, xxiv: Kulturherbst Bündner Herrschaft (August–September 2004), 16–17. 680. Dunhill, Thomas. F. Chamber Music: A Treatise for Students. London: Macmillan, 1913. Reprints 1925 and 1938. 785.7 D917c. viii + 311 pages.

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One of the best and most balanced early introductions to chamber music for students who have a rudimentary knowledge of classical music. It is not a history of chamber music nor a list of repertory; rather, it discusses—by genre—questions of forms, sonority, harmony, rhythm, and texture. It emphasizes string quartets but gives considerable attention also to chamber music for other string combinations: piano with strings, and winds. Ernst Schmid, in Carl Philipp Emanuel Bach und seine Kammermusik 785, defines chamber music as all pieces for 1 or more melody instruments with or without basso continuo as well as obligato keyboard with 1 or more melody instruments. He excludes pieces for 1 or more keyboards, concertos, sinfonias, marches, and dance music. He describes musical aesthetics in Italy, France, Poland, and Germany 1730–80. See also 187 and 209. 681. Rowen, Ruth Halle. “Some 18th Century Classifications of Musical Style,” in The Musical Quarterly, xxxiii (1947), 90–101. An important, though limited attempt to define the term “chamber music,” first by location (in which both the nature and size of the hall are considered and the kind of people who perform and listen are classified), then by style (Mattheson used the term “domestic” music no matter where it is performed; Scheibe: “it must be above all lively and penetrating”; Mattheson continues that the most important aspect of chamber music is that it is instrumental, whether concerto grosso, overture, sonata or suite). Style is much less carefully defined, and at the end location is regarded as the most important. Rowen uses writers almost entirely before 1754 (Koch, 1802, is the only real exception). 682. Galeazzi, F. Elementi teorico-pratici di musica con un saggio sopra l’arte di suonare il violino analizzata, ed a dimostrabili principi ridotta, Vol. i. Rome: Cracas, 1791. Vol. 2. Rome: Puccinelli, 1796. English translation of Volume 2, Part 2, Section 2 “Melodia” in Gregory W. Harwood, “Francesco Galeazzi’s Elementi teorico-pratici di musica, Part 4, Section 2: an Annotated Translation and Commentary.” M.A. thesis. Brigham Young University, 1980. vi + 203 pages. ML25.902.H37F73. After a biography of the learned Galeazzi and tracing Galeazzi’s extensive citations of musical authorities to their sources, Harwood provides a translation side by side with the original Italian. This is a translation of part of the entire treatise that deals with “melodia” or the art of composition. It treats first the most basic elements of melodic structure, including eventually harmony, periodization, sonata form, cadences, modulation, and counterpoint. Then Galeazzi considers

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instrumental duos, trios, quartets, quintets, and sextets (pages 121–31) as well as symphonies and concertos. Recognizing that Italians (except Boccherini) are not good at this kind of composition, compared to Germans, he dwells on it. As such, this is among the first treatises on the basic modern forms of chamber music. In a duet sonata, for example, the melody must be a compromise between gentle expressiveness and bravura. He details the relationship of instruments, the melodic and harmonic structures, and the forms (a duet is usually in 2 movements, the second a rondo; a quartet usually has 3 or 4 movements). Young composers write full of imagination; older ones who are good write full of science or with economy of means. The latter include the 2 Bachs (Harwood assumes J.C. and C.P.E. Bach), Handel, and especially Haydn. 683. Bracht, Hans-Joachim. “Überlegungen zum Quartett-Gespräch,” in Archiv für Musikwissenschaft, li (1994), Heft 3, 169–89. The concept of chamber music as conversation originated in France in the early 18th century and came to Germany with the trio sonata and then the string quartet. Adolph Sandberger wrote the definitive modern study of the idea. Bracht challenges Sandberger by asking what compositional devices are similar to conversation and what types of conversation he meant. The traditional analogy falls apart when we consider the aesthetic autonomy of a Haydn or Mozart work versus the 4-way divisive conversation of 4 people. So Bracht seeks a new analogy based on another meaning of conversation. After refuting Sandberger, he rules out ordinary conversation as too willful to be parallel to well-thought-out chamber music and argumentative conversation as too narrow (one-track). Chamber music has many elements working together, while symphonic music is a collection of many elements. For further discussion of chamber music as conversation, see 236. 684. Nohl, Ludwig. Die geschichtliche Entwickelung der Kammermusik und ihre Bedeutung für den Musiker. Braunschweig: Friedr. Vieweg, 1885. 2nd ed. Wiesbaden: M. Sändig, 1969. ML 1100.N74.1969. v + 140 pages. Classic 19th-century study of chamber music. The greatest accomplishments in music are symphony, quartet, and sonata, and Beethoven’s examples are the best—even carrying respect for German music over the Alps to Rome. Everything leads to Beethoven via Mozart and Haydn; melody and its expression are the most important things in music and they are seen most clearly in chamber music. 685. Krummacher, Friedhelm. “Gattung und Werk: zu Streichquartetten von Gade und Berwald,” in Gattung und Werk in der Musikgeschichte

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Norddeutschlands und Skandinaviens, in Kieler Schriften zur Musikwissenschaft, xxvi (Kassel: Bärenreiter, 1982), 154–75. Reprinted in Krummacher, Musik im Norden: Abhandlungen zur skandinavischen und norddeutschen Musikgeschichte, ed. Siegfried Oechsle, Heinrich W. Schwab, Bernd Sponheuer, and Helmut Well (Kassel: Bärenreiter, 1996), 117–43. Krummacher points out the dichotomy between “genre” (Gattungen) and the individual piece that is supposed to be an example of a particular genre. He also reviews aesthetic theories of the first half of the 19th century (Kant, Hegel, Christian Hermann Weisse, and others), whereby instrumental music gains hegemony over vocal music and chamber music develops its right to exist in theories of aesthetics. Krummacher then is concerned with the generally perceived weakness of Scandinavian chamber music in comparison to that of German chamber music. Berwald and Gade write string quartets that are Germanic in design, yet they claim to have a northern tone that distinguishes them from the German. What is this northern tone? Spitta writes about Gade and states that his Scandinavian tone is quotations of folk music presented in the piece, but without the intense development that characterizes German string quartets. It is that lack of development in the Germanic sense that makes German theorists perceive Scandinavian string quartets as inferior. Krummacher challenges Spitta and his followers in using German criteria to judge chamber music of Scandinavia, and he counters them in demonstrating that, by using Nordic folk music, Berwald and Gade wrote successful Scandinavian chamber music. He then analyzes the first movement of Berwald’s A-minor Quartet and the first movement of Gade’s F-minor Quartet to show that despite all of the above, they use Germanic thematic development as well as Nordic folk music and, therefore, have a legitimate claim to belong to the string quartet genre as formulated by Germans. 686. Schubert, F.L. “Die Formen der Kammermusik,” in Die Instrumentalmusik in ihrer Theorie und ihrer Praxis oder die Hauptformen und Tonwerkzeuge der Concert-, Kammer-, Militär- und Tanzmusik wissenschaftlich und historisch erläutert für Tonkünstler und Musikfreunde (Leipzig: Moritz Schäfer, 1865), 129–54. NYPL Drexel 3304. An attempt to present a systematic description of chamber music. Schubert includes solo music and prefers the piano. The main forms correspond to the 4-movement symphony, especially the sonata form. Color is important. Schubert considers the aesthetic significance of each of the movements of a 4-movement sonata.

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687. Scott, Cyril. “Chamber Music: Its Past and Future,” in The Musical Quarterly, vii (1921), 8–19. A personal, amusing definition of what is true chamber music by an important English composer. He dislikes Haydn’s piano trios and Beethoven’s string trios, Brahms’s chamber music and Mendelssohn’s. He likes the color effects that are emphasized in French and Russian chamber music in general (and Chopin in his piano music) and that also appear in French and Russian chamber msuic. Thus, Ravel’s chamber music is the best. 688. Pierce, Edwin Hall. “Certain Questionable Tendencies in Modern Chamber Music,” in The Musical Quarterly, xi (1925), 261–70. A somewhat confusing tirade against modern composers who write extremely difficult ensemble music that can be played only by top professionals who work together at it for a long time. Pierce considers the modern piano suitable for chamber music in the large concert hall, if it does not conflict with the flow of the strings, but Reger and other moderns obscure the music with piano parts that are too thick. Pierce argues that composers have also neglected duets and trios without piano. He calls for the modern composer to write true chamber music with modernisms but without absurd technical difficulties. 689. Lemacher, Heinrich, and Hugo Wolfram Schmidt. Almanach der Hausmusik für Kenner und Liebhaber. Köln: Hans Gerig, 1958. ML 128.C4L4. 152 pages. A collection of 31 radio lectures given on Westdeutschen Rundfunk for the layperson, with a list of the repertory. This collection is of value for aesthetics in his discussion of humor in string chamber music. He quotes Goethe and “the philosophers” and then brings in Boccherini’s Quintet La Musica Notturna di Madrid, where the imitation of a serenading guitar by the cellist is cited as humor, and M. Käsmeyer’s Fuge für Streichquartet Über ‘O du lieber Augustin,’ where the quotation is another instance of humor. See also 1190. 690. Dahlhaus, Carl. Die Idee der absoluten Musik. Kassel: Bärenreiter, 1978. ML 3854.D34. ISBN 3-7618-0599-3. A thorough study of the prevailing 19th- and early-20th-century belief in absolute music, which was not possible before and which is no longer accepted. The chief absolute music c.1800 was the symphony, but by 1870 it was the string quartet—especially Beethoven’s last ones. Dahlhaus considers the ideas of Hanslick, Wagner, and many German philosophers and writers of the 19th century. Form is

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essential to absolute music, and so is a model of what is then expected. Dahlhaus considers the meaning of the term and its relationship to “program” music, words, and philosophical concepts. 691. Kawohl, Friedemann. “Kammermusik zwischen Moderne und Postmoderne,” Handbuch der Musik des 20. Jahrhunderts, Helga de la Motte-Haber, ed. Vol. iv (Laaber: 2000), 95–120. A shorter version is “Postmodern Chamber Music, the Genealogy of Music History, and the Problems of Generic Terms.” Orbis Musicae, xiii (2003), 117–26. Kawohl points out that German music historians have thought genealogically since the end of the 18th century, whereby a new generation of composers is heir to previous generations—spiritually, not biologically. Thus, Beethoven is descended from Haydn and Mozart on one hand and from Bach and Handel on the other. Postmodernists, however, have tried to break with this pattern, yet he cites 3 late-20th-century chamber pieces that show the genealogical continuity: Schnittke’s String Quartet No. 3, Ligeti’s Trio for Violin, French Horn, and Piano, and Rihm’s Musik für drei Streicher (Music for Three Strings). Chamber Music Justified 692. Queux de Saint-Hilaire, August Henry Edouard, le marquis de. Lettre á M. Adolphe Blanc, Membre de la Société Académique des Enfants d’Apollon sur la Musique de Chambre. Paris: Jouaust, 1870. ML 1100.Q93. 31 pages. An essay in tribute to chamber music, and a justification of it in spite of its lack of glamour, its sustained concentration, and its frequent performance by amateurs. The author pays tribute especially to Haydn, Mozart, and Beethoven, all of whom devoted supreme effort to chamber music. He evaluates their instrumental styles from a personal emotional reaction to them: prefers Haydn’s quartets, Beethoven’s symphonies, and Mozart’s opera arias. He calls on modern composers to return to the true art: instrumental music, especially chamber music. 693. Boughton, Rutland. “The Future of Chamber Music,” in The Musical Times, liii (September 1912), 570–2. Notes the absence of really new chamber music ( = string quartets) since Beethoven and tries to formulate how and why chamber music should be revived. Boughton believes Wagner was right when he stated that with the choral movement of the Ninth Symphony, pure instrumental music is dead. He proposes that programs and dramatic values be given to chamber music.

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694. Honegger, Arthur. “In Behalf of Chamber Music,” in Boston Symphony Orchestra Concert Bulletin (1950–1951), 352–4. Originally “Pour la Musique de chambre,” in Incantation aux Fossiles (Lausanne, Éditions d’Ouchy, 1984). Sees music in its pure state in chamber music: “it is there that musical thinking can unfold most truthfully, and bring to the one who loves this form of art the subtlest and noblest of emotion.” Honegger sees more in 2 pages of Fauré’s string quartet than in all of Berlioz’s requiem. He attacks radio, which ruins youth, music critics who shun chamber music reviews, and composers who make it too difficult. He proposes that chamber ensembles receive grants to encourage new chamber music. 695. Bonavia, Ferruccio. “For Lovers of Chamber Music,” in Music and Letters, xv (1934), 153–6. A brief but passionate statement on the value of chamber music. 696. Krumhansl, Carol L. “Topic in Music: An Empirical Study of Memorability, Openness, and Emotion in Mozart’s String Quintet in C Major and Beethoven’s String Quartet in A Minor,” in Music Perception, Vol. xvi (Fall 1998), 119–34. 697. Ritter, Frederic Louis. “Chamber Music,” in Musical Bulletin, i (November, 1880), 184. A very short but interesting appeal for more chamber music that allows individual expression and imagination. “The ideal symmetry, harmony and unity of the whole form binds [the individual performers] all naturally together without tampering with the necessary, spontaneous free life of the spirit.” Ritter condemns orchestral transcriptions of chamber music and sensational pianistic displays as antithetical to the chamber music ideal. The same author, a teacher at Vassar College, appeals, in Musical Standard, xviii (1880), 378–9, for Americans to put aside their love of the sensational and concentrate on “a more solid, refined and substantial aesthetical development of music,” namely chamber music. 698. Betti, Adolfo. “Why Chamber Music,” in Musical America, lviii (February 10, 1938), 22–3. Refutes the assertion that chamber music is music for museums or for old players who, having lost their vitality, can only play in a dull way. Betti shows that technical problems abound in chamber music, especially bowing, which is more difficult than in the virtuosic solo repertory. The young artist can learn more about shading, rhythm, tempo, style, and interpretation from chamber music (primarily

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string quartets) than from concertos. And most important, the virtuoso learns humility in chamber music. This article includes photos of 8 late-19th-century and early-20th-century chamber groups (St. Petersburg Quartet, Bohemian Quartet, Joachim Quartet, Flonzaley Quartet, Danreuther Quartet, Mendelssohn Quintette Club [1849], Mason-Thomas Quintette, and Kneisel Quartet). The String Quartet as the Ideal Chamber Music 699. Fournier, Bernard. L’Esthétique du Quatuor à Cordes. Paris: Fayard, 1999. ML1160.F68E88.1999. ISBN 2-213-60507-6. 706 pages. A massive, thoughtful, well-written introduction to the aesthetics of the string quartet concerning the physical, formal, and dialogue aspects of string quartets from the standpoints of the composer, professional interpreter, amateur player, and listener. The first part deals with the most elementary concerns of string quartets: the instruments, their characteristics, how they work together, and what the titles of certain pieces mean. The second part analyzes the forms (especially sonata, minuet/scherzo, and variation) of the various movements with examples drawn from the works of Haydn, Mozart, and Beethoven. The third part deals with musical space, fugue, and the concept of dialogue. The book is written for the layperson but assumes that the reader is well acquainted with the basic string quartet repertoire (which, for Fournier, runs from Haydn to John Corigliano). 700. Antcliffe, Herbert. “Why Quartets?” in The Musical Times, xci (1950), 233–4. Considers why string quartets take precedence over other chamber combinations. Antcliffe discusses snobbism and proposes several more important reasons why string quartets are preferred: the ideal of 4-voice writing, the intimacy of solo string music without orchestrally extraneous sounds, and the family of string sound from soprano—alto—tenor—bass that is not duplicated in other instruments. Not every quartet is perfect, but in its highest manifestations, the string quartet is perfection. 701. Krummacher, Friedhelm. “Nationaler Ton und Gattungstradition: über Streichquartette von Nielsen und Stenhammar,” in Musik im Norden: Abhandlung zur skandinavischen und norddeutschen Musikgeschichte, eds. Siegfried Oechsle, Heinrich W. Schwab, Bernd Sponheuer, and Helmut Well (Kassel: Bärenreiter, 1996), 160–87. Originally in Weltgeltung und Regionalität: Nordeuropa um 1900, eds. Robert Bohn and Michael Engelbrecht (Frankfurt am Main: Peter Lang, 1992), 213–39.

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Considers once again the dichotomy between pure music (the string quartet) and music evincing nationalistic traits (inevitably, program music). The problem in Stenhammar is treated as well in “Nationalmusik”; here Krummacher adds to the discussion Nielsen’s 4 published quartets that suffer from the same problem that hurt Grieg’s quartet: too orchestral. The use of folk material is so integrated into the quartets that it does not conflict with the basic Germanic ideal of the quartets. Krummacher includes a useful list of string quartets composed by Skandinavians from c.1850 to 1910. See 2322 for further discussion by Krummacher. Other discussions of the aesthetics of chamber music occur in 416. 702. Stahmer, Klaus. “Anmerkungen zur Streichquartettkomposition seit 1945,” in Hamburger Jahrbuch für Musikwissenschaft, iv, Zur Musik des 20. Jahrhunderts (Hamburg: Karl Dieter Wagner, 1980), 7–32. The string quartet has undergone many changes since 1945, but it is wrong to define the genre by one style alone, that of the 19th century. The essential character of the string quartet has not changed: its unification of 4 similar instruments into a totality greater than its parts, and its privacy, exclusivity, and autonomy. 703. Redfield, John. “A Wider Range for Chamber Music,” in Modern Music, iv (March–April, 1927), 22–8. Explains that the relative primitiveness of wind instruments and the perfection of string instruments from Haydn’s to Beethoven’s day inevitably led to string chamber music as the highest form of chamber music. But since wind instruments have been perfected, they too should be used by serious composers of chamber music. Redfield discusses various possibilities and points to the growth of wind chamber music societies around the world. Then he goes on to chamber orchestra where winds share with strings. H. Wiley Hitchcock’s “The Chamber Music,” in Ives: A Survey of the Music 1643 expands the conversation idea into an argumentation of 4 players (in reference to Ives’s String Quartet No. 2). Hausmusik 704. Cherbuliez, Antoine-Elisée. “Hausmusik” in Gottfried Schmid, ed. Musica Aeterna (Zurich: Verlag Max S. Metz, 1948), i, 343–56. NYPL *MD 1948.

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A long essay glorifying the basic concepts of Hausmusik. The love of music is the prerequisite for Hausmusik, just as the cultivation of Hausmusik nourishes the love of music. It takes place in private homes no matter what class of people, and it involves active participation. Hausmusik does not forget artistic standards; indeed, some great composers have written it. No one stands out in Hausmusik; all are equals. The same writer is more precise in his “Hausmusik,” in Gesellschaft der Musikfreunde Braunwald, ed. Die Musik im Leben des Menschen (Basel: Gaiser & Haldimann, 1941), pages 218–50. In Hausmusik the listener and player are one and the same, which eliminates the dichotomy in public performances. Chamber music and Hausmusik are related: both use small, intimate ensembles; but they differ in that chamber music is more soloistically oriented, whereas Hausmusik is more choral. Chamber music is sometimes distinguished from theatrical, orchestral and church music, which is more important to it than to Hausmusik, where the location remains essential. Thus chamber music could be public, while Hausmusik cannot. For a general definition and discussion of Hausmusik, see Gabriele BuschSalmen, “Hausmusik,” in Die Musik in Geschichte und Gegenwart, 2nd edition 2 and Finscher, “Hausmusik und Kammermusik” 190 705. Mies, Paul. “Rund um die Hausmusik,” in Musikhandel, xvii (1966), 261–2, 317–19, 379–80. Considers the definition, history, and contemporary state of Hausmusik: it is all that is not theatrical or liturgical. It is inevitably a many-faceted type of music satisfying so many different kinds of people—it is no longer limited to a few aristocratic Kenner and Liebhaber. Miles shows that Hausmusik is defined by its location and performers, while “chamber music” is much more ambiguous. “Chamber music style is more free and lively than church style and, since there is no action, more carefully worked out and artistic than theater style.” This is a distinction made by Quantz, who does not consider “concert style.” Form and style, rather than location, determine chamber music. 706. Hayward, John Davey. Chamber Music for Amateurs: Notes from a Library, in The Strad Library, No. 22. London: The Strad/New York: C. Scribner’s Sons, 1923. ML 128.C4H2. vi + 81 pages. An informal, non-technical, non-scholarly study of chamber music by an amateur musician (physician). Hayward defines chamber music as “compositions for a few instruments, and it does not include music for the voice” (also excludes all solos and duets with piano or

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organ and all works for more than 8 instruments). He draws on his personal library to guide the reasonably skilled amateur in terms of a repertory. He contrasts professionalism and amateurism in chamber music and shows the special place for amateurs. 707. Reissmann, August. Die Hausmusik: in ihrer Organisation und Kulturgeschichtlichen Bedeutung. Berlin: Robert Oppenheim, 1884. ML 67.R34. vii + 322 pages. Explores how music in the home can educate mankind to nobility. To this end first explores how music educates people and then deals with music in the home. Hausmusik includes song, instrumental music, and piano music. The first chapter deals with musical aesthetics; the physical phenomenon of tone and sound are necessary for people’s perceptions of the artist’s organization of tone and sound, but the latter (perceptions) are independent. Song, because it has greater meaning, is more important for education than instrumental music, which appeals to phantasy. In the latter, a row of beautiful sounds is irritating if it is not controlled by form. In a chapter on instrumental music ranks instruments on their proximity in sound and sound production to the human voice; then discusses forms – the highest is sonata form in duos, sonatas, trios, and quartets and lower are suites. In order to understand art works, education is necessary. Most effort is spent on vocal music, but in a chapter at the end on instrumental music in the house, concentrates on marches and dances, which can have poetic meaning, then on variations, and at last on chamber music (as well as concertos and symphonies and solo piano sonatas). Allows that man’s perceptions of the beautiful in music vary from person to person, but then proceeds to discuss music under the assumption that German art music is the ultimate. An interesting, intelligent, even if biased and now dated book on musical aesthetics as it relates to Hausmusik and the proper education for children if they are to come to benefit most from this conception of what is art music. 708. Petrat, Nicolai. Hausmusik des Biedermeier im Blickpunkt der zeitgenössischen musikalischen Fachpresse (1815–1848), in Hamburger Beiträge zur Musikwissenschaft, Band 31. Hamburg: Karl Dieter Wagner, 1986. ISBN 3-88979-018-6. ML246.8.V6P40.1986. 306 pages. A carefully researched and written study of Hausmusik in Central Europe from 1815 to 1848 as revealed by notices in the musical newspapers of the time. Since much of the music performed was chamber music—often by well-known performers and composers, this book gives an important picture of the social setting for chamber music during the designated time. Petrat researched 73 newspapers in Germany and Austria and discusses the reliability of these

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sources. He analyzes the terms “Hausmusik” and “Biedermeier” and settles on the concept of musical life in private settings. 709. Salmen, Walter. “W.H. Riehls Gedanken zur Gesundung der Hausmusik,” in Hausmusik, xvii (1953), 169–70, 172. A brief analysis of Riehl’s (1823–97) thought about the state of Hausmusik in his own day. Salmen shows how Riehl, brought up with chamber music in the home, considered Hausmusik in a larger sociological framework of the state of the German family and its home. There was great danger to the family structure evident in his own time, and its disintegration was feared. This would lead to national disintegration. Hausmusik was also disintegrating into being either too virtuosic or too esoteric—too separate from the folk. Thus the state of music in the home—chamber music to a large extent—mirrors the whole of society. Haydn’s quartets are the ideal Hausmusik since they are the perfect balance between simplicity, feeling, and nature. Purity of form and thought are the composer’s goals, and the modern world must be built on those ideals. 710. Dechant, Rudolf. “Besinnliche Gedanken zur Hausmusik,” in Musikerziehung, iii (1949–50), 134–7. The location is not the main criterion of Hausmusik; it is the ordinary individual’s participation that makes it so. The choice of what to play is important—something denied when listening is confined to a live concert or radio broadcast. This article is mostly a song to glorify Hausmusik. For information on Cornelius Gurlitt, an important composer of Hausmusik, see 1485. 711. Valentin, Erich. Musica Domestica: von Geschichte und Wesen der Hausmusik. Trossingen: Hohner, 1959. ML 67.V234M. 154 pages, 7 reproductions of paintings. An excellent introduction to the history of Hausmusik (the term) and its implications, including distinctions between salon music (primarily for the piano) and Hausmusik, and between Dilettanten (does not care about professionals and receives enjoyment from the playing, not from the music in an abstract sense) and Liebhaber (concerned with the essence of music and strives for profesional perfection). In the history of Hausmusik, Valentin shows that although the term was coined by Johann Rist, Frommer gottseliger Christen alltägliche Hausmusik (Lüneburg: 1654), it does not recur until the 19th century. Music serving the function of Hausmusik before then was performed by Liebhaber; Goethe introduces the terms Hausgesang and musikalische

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Hausübung c.1807. Hausmusik is mentioned in the 1830s, though not with the identical meaning of the later use of the term; W.H. Riehl (in works like 438 and 1720; see also 709) is the first to treat it in its modern sense: music for private homes, no audiences. It is exclusively a German concept. He is concerned with the present situation where people have become passive listeners instead of active performers. See Ludwig Finscher’s “Hausmusik und Kammermusik” 222. 712. Vetter, Oskar. Warum und wie spielen wir Kammermusik? Fragen und Antworten eines Dilettanten. Vienna: Ludwig Doblinger, 1938. ML 1100.V48 87 pages. A defense of dilettantism. The dilettante does not recognize difficulties inherent in things and always tries to do what he or she does not have the ability to do (Goethe). Expression is the most important thing in music—the more intense the expression, the better the music. Pure instrumental music grew in expression from the canzona to the post-Haydn quartet. Melody is the principal vehicle of expression, but rhythm and harmony also serve as forms of expression. This expression is what the dilettante appreciates and it is achievable in chamber music. Melody is absent in old polyphonywhere individuals do not express but only join a group to express (ceremonial music). This is different from Haydn, Mozart, and Beethoven where homophony conquers polyphony, dynamic conquers static, and active listening replaces passive listening. This classical chamber music is good for dilettantes, who have the possibility to express personal feelings by recreating the emotional melodies of Haydn and the chamber music of his successors. This is the 1 chance to become artists, creators of art. The dilettante plays with the freshness of inspiration, while the professional tames the inspiration with technical controls. This is especially true of string quartets, but not so much in piano + another instrument (sonatas), because of the equality in importance and expression of each of the 4 players. This answers the “Why” (“Warum”). “How” (“Wie”) is answered by the expression, which is equally as important as the musical thought. Vetter is concerned only with string trios, quartets, quintets, sextets, and octets. He quotes Hans von Bülow: interpretation should be correct, beautiful, and interesting. Vetter interprets each of these 3 requirements for interpretation. Correct means rhythmically coordinated with the others. The first violin must determine tempos after studying the piece enough to know what tempos bring the melody to full expression. Vetter gives other advice to players, also when a piano is present; dilettantism does not mean ignorance and unpreparedness. The more

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experienced the player, the more he/she knows how to phrase properly and balance properly. Beautiful means good intonation, clean technique, and full tone. Correct depends on understanding, intelligence, but beautiful does not—stupid people can play beautifully. To play beautifully, one needs training of muscles, and exercise, but intelligence can assist in it up to a point. Beautiful requires intonation, and attention to the other players. Only when the technical things are certain can the players concentrate on musical matters: this is the ideal, but it is not always obtainable. Therefore, it is best to play easier pieces. Interesting means the personality of the player is expressed. The dilettante has a duty—in Vienna especially in 1938—to carry on “the spirit of German chamber music.” 713. Spranger, Eduard. Rede über die Hausmusik. Kassel: Bärenreiter, 1955. 780.13 Sp75. 41 pages. A lecture by a philosophy professor on the essence of Hausmusik. Hausmusik has 3 requisites: lovers (Liebhaber) of art, an intimate circle of friends or relatives, and good feeling. A charming, amusing book, which champions the concept and practice of Hausmusik. Spranger is conscious of the changing home conditions of the 20th century, emphasizes the importance of bringing young people into the fold, and stresses that Hausmusik is played by Liebhaber for the sheer enjoyment of the playing and not for any possible extra-musical meanings. A discussion of wind music ensembles made up of amateurs in Europe after 1945 is in 389. Sociology of Chamber Music 714. Ferguson, Donald N. Image and Structure in Chamber Music. 1st ed. Minneapolis: University of Minnesota Press, 1964. Reprint New York: Da Capo, 1977. ML 1100.F47.1977. ISBN 0-306-77415-1. xiii + 339 pages, 49 musical examples. Thought-provoking psychological analyses of the effect of music on people (as in the author’s Music as Metaphor). Ferguson concentrates here on the chamber works of Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, and Brahms (but also confronts briefly nationalistic, American, 20th-century, and pre-Haydn chamber music). Despite misinformation and misconceptions on structural and historical facts, as well as a strong personal bias, there are many ideas here that a scholar could develop further, such as what constitutes emotion or image in intimate music, or expression versus design (Romanticism versus Classicism).

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715. Rozin, Alexander, Paul Rozin, and Emily Goldberg. “The Feeling of Music Past: How Listeners Remember Musical Affect.” Music Perception: An Interdisciplinary Journal, xxii, No. 1 (Fall 2004), 15–39. A study of how listeners perceive music. The authors “derive a formula that takes moment-to-moment experience as input and predicts how listeners will remember musical affect. The formula is a better predictor of postperformance affect than any other online characteristic considered.” The formula is tested in 2 pieces: a classical symphony and a string quartet movement by Borodin. 716. Adorno, Theodor [Wiesengrund]. “Kammermusik,” in Einleitung in die Musiksoziologie, zwölf theoretische Vorlesungen (Frankfurt/M: Suhrkamp Verlag, 1962). English trl. by E.B. Ashton, “Chapter 6: Chamber Music,” in Introduction to the Sociology of Music (New York: The Seabury Press; a Continuum Book, 1976), 85–103. ML 3797.1.A3413. ISBN 0-8164-9266-2. Studies the social role of chamber music, which is antithetical to the bourgeois lifestyle of self-indulgence and competition. Chamber music assumes a polite relationship, with each musician subservient to the whole, and as long as noblemen and the bourgeoisie avoided money-making occupations outside working hours, chamber music was possible. The physician is a significant example of this; he shuts out his medical practice when he is at home so that he can enjoy chamber music. Adorno considers chamber music in light of German idealism, and attacks subjective ideas in chamber music. The dichotomy is between external and private aspects of chamber music. As a private medium, the composer (especially Beethoven, Brahms, and Schönberg) could concentrate on structure without regard to monumentality; chamber music is critical, unemotional, and anti-ideological. Adorno believes that Schönberg’s First Chamber Symphony is introvertial chamber music turned against extrovertial concert audiences; its success, based on the development of single tunes and their parameters, led to the end of the hegemony of the string quartet, dependent on themes and motives. This corresponds to a change in social conditions. Nowadays, white-collar institutions have replaced middle-class leisure; Adorno thinks the new society is anti-intellectual, plastic, and anti-chamber music, though statistics are not actually known. This is a penetrating essay for layperson and scholar, student and performer. See Wolfgang Ruf’s “Die Kammermusik in der Musiklehre der 18. Jahrhunderts” in Fleischhauer 213, pages 17–22, which traces the change from the aristocratic concept of music as handiwork to the middle-class idea of a work of

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genius, as evinced in Mattheson’s writings and resulting in the string quartet as perfect synthesis. See also Klaus Stahmer, “Zur Frage der Interpretation von Musik: eine musiksoziologische Modellstudie dargestellt an dem 1. Satz von Beethovens Streichquartett Op. 130” in Pecman 675, pages 81–99. 717. Mahling, Christoph-Hellmut, Kristina Pfarr, and Karl Böhmer, eds. Aspekte der Kammermusik vom 18. Jahrhundert bis zur Gegenwart, in Schloss Engers Colloquia zur Kammermusik, Band 1. Mainz: Villa Musica, 1998. ISBN 3-9802-6654-0. ML1100.A86.1998. ix + 171 pages. An important study of chamber music through a group of 12 essays that deal with the concept of chamber music, the sociology of chamber music, and its role in several countries. The essays are: 1) “Überlegungen zum Begriff Kammermusik im 18. und 19. Jahrhundert” (Axel Beer); 2) “Kammer–Salon – Konzertsaal: zu den Aufführungsorten der Kammermusik, insbesondere im 19. Jahrhundert” (Heinrich W. Schwab); 3) “Zur Entwicklung des Streichquartetts zum professionellen Ensemble, insbesondere in der Zeit Felix Mendelssohns” (Mahling); 4) “Gattungsprobleme am Beispiel der Kammermusik für Bläserensembles” (Ursula Kramer); 5) “Schreiben über Kammermusik am Beispiel von Franz Schuberts kammermusikalischen Oeuvre” (Ingeborg Allihn); 6) “Glück der Ferne – leuchtend nah: Kammermusik und ‘sozialistischer Realismus’ in der DDR” (Mathias Hansen); 7) “Experimentierfelder der Kammermusik nach 1950” (Tilo Medek); 8) “Die böhmischen Länder als Pflanzstätte der Kammermusik” (Zdenka Pilková); 9) “Il Quartetto d’archi in Italia” (Sergio Martinotti); 10) “Kammermusik des 19. Jahrhunderts in Norwegen: mit einem Ausblick auf die Nachbarländer” (Harald Herresthal); 11) “Die Kammermusik in Frankreich nach 1850: der Weg zur Eigenständigkeit” (Lucile Thoyer); and 12) “Die Bedeutung der polnischen Kammermusik für die zeitgenössische Musik nach 1950” (Zbigniew Skowron). 718. November, Nancy. “Theater Piece and ‘Cabinetstuck’: NineteenthCentury Visual Ideologies of the String Quartet.” Music in Art, xxix, (Spring-Fall 2004), 134–50; and Emanuel Winternitz, Music in Art: Iconography as a Source for Music History: Proceedings of the Ninth Conference of the Research Center for Music Iconography, Cosponsored by the Metropolitan Museum of Art, Commemorating the 20th Anniversary of Death of Emanuel Winternitz (1898–1983), New York City, 5–6 November 2003, Zdravk Blazekovic, ed. (New York City: Research Center for Music Iconography, 2005). In the early-19th century, the French looked at chamber music as a visual, theatrical experience as much as an aural one, while the

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Germans insisted on a purely aural experience (so called “cabinet” music). The German aesthetic dominated then and persists to the present day, but the French aesthetic is freer and should be pursued today in order to allow for needed variety. The privacy of the German string quartet should give way to new modes of communication in the public string quartet. On semiotics and chamber music see 1218 and the following: 719. Hatten, Robert S. “Semiotic Perspectives on Issues in Music Cognition,” in In Theory Only, Vol. 11 (1989), 1–11 Uses the Beethoven string quartets. See also 994. 720. Reininghaus, Frieder. “Zwischen Historismus und Poesie: über die Notwendigkeit umfassender Musikanalyse und ihre Erporbung an Klavierkammermusik von Felix Mendelssohn Bartholdy und Robert Schumann,” in Zeitschrift für Musiktheorie, iv (1973), No. 2, 22–9, and v (1974), No. 1, 34–44. Reininghaus first points out that in the first part of the 19th century there was no separation between analysis, music history, and composition, and that composers of that time had no compunction about subjective analyses of music (Robert Schumann and E.T.A. Hoffmann); this was because the people (the listeners) accepted certain basic concepts. He challenges modern theorists who impose science on art, but social conditions do affect how composers and hearers think of their art. He contrasts not only Mendelssohn and Schumann but also Chopin, Berlioz, and other romantics of that generation on their varying places in the same society. He then contrasts the piano chamber music of Schumann (piano quintet and quartet) and Mendelssohn (2 piano trios, cello sonata) in light of these sociological contrasts. 721. Dahlhaus, Carl. “Brahms und die Idee der Kammermusik,” in Neue Zeitschrift für Musik, cxxxiv (1973), 559–63. “The idea of chamber music originated in the aristocratic culture of the 16th-18th centuries and was taken over by the middle-class culture of the 19th century.” 722. [Schaul, J.B.] Über Tonkunst, die berühmtesten Tonkünstler und ihre Werke, in Briefen zur Bildung des Geschmacks in der Musik. Karlsruhe: Gottlieb Braun, 1818. ML 60.U32. Erster Brief, pages 1–19. This treatise on chamber music ( = string quartets), discusses Pleyel, Boccherini, Mozart, and Haydn. There are 6 kinds of audience for chamber music: those who like any kind of music; those who think

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of themselves as well-traveled and therefore have more experienced ears; superficial players of instruments; those who specialize in 1 genre of music and are of not bad taste but who are too critical; doctors of music who play reasonably well and who are always ready to explain and give their opinion about the music; and those who without prejudice or suffering enjoy the honor and joy of art without showing off how much they know unless they have researched it well and thought it out. The author prefers the last. This is interesting especially for its date; for example, the author states that to hear Pleyel play his own chamber music is much better than to hear others play it. 723. Dahlhaus, Carl, ed. Studien zur Trivialmusik des 19. Jahrhunderts, in Studien zur Musikgeschichte des 19. Jahrhunderts, Band 8. Regensburg: Gustav Bosse Verlag, 1967. ML 196.D32. 227 pages. A collection of 14 essays by different authors (the foreword and 2 of the essays are by Dahlhaus himself) on trivial music, which is the repertory of 19th-century dance halls, promenade concerts, salons, and variety theaters. It was the music of the day: direct, without deep emotions, and perfect for the new 19th-century industrial middle class. This implies a negative value, and this prejudice against it has led to neglect in musicological studies until this volume, where it is analyzed in great depth. It becomes difficult to precisely define and evaluate kitsch vs. art; yet “aesthetic judgements are insupportable if they are not buttressed through technical analyses of compositions.” Trivial is a necessary but not sufficient condition of kitsch. The progression V-I is trivial (banal) if emphasized; but kitsch, when it is made too dramatic, is too pretentious. Dahlhaus provides careful theorizing about salon music (which includes the deep, true expressive music of the masters) and Hausmusik (where trivial music is more important) in the 19th century. 724. Bujic, Bojan. “Chamber Music in the Twentieth Century: Cultural and Compositional Crisis of a Genre,” in The British Journal of Aesthetics, xxii (1982), 115–25. Composers of the 19th and 20th centuries turned to chamber music to escape from the requirements of contemporary bourgeois society for concert, symphonic, and operatic music. Bujic recognizes some validity in Adorno’s criticisms of contemporary music but finds he goes too far. He considers Schoenberg, Berg, and Bartók in detail. After the war, the essentials of chamber music—inwardness, absence of rhetorical accent, complexity of compositional means—were reduced to only the third: complexity. Since 1945, chamber music has been used for ideological purposes, denying the intimacy and

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independence essential to it. Composers have tried too hard to communicate in chamber music and thereby have become enslaved in the ideas they try to communicate. Only Milton Babbitt and Ligetti have survived as chamber composers. 725. Heuss, Alfred Valentin. Kammermusikabende: auf welche Weise kann Kammermusik dem Volk geboten werden? Er läuterungen von Werken der Kammermusikliteratur. Leipzig: Breitkopf & Härtel, 1919. MT 140.H29. xxiv + 152 pages. A collection of 24 program notes written during World War I for concerts of chamber music in Alberthalle in Leipzig. They are published here for people who, for lack of opportunity to hear orchestral concerts, will be hearing chamber music instead. An introductory chapter tackles the question: Is chamber music possible for the masses? The surprisingly successful concerts in Leipzig suggest an affirmative answer. If one gives the central ideas or images of a work to the masses, the masses grab on to such ideas and images and come to like the music, no matter how difficult. Their ears are honed through regular listening, so that chamber music is as accessible as orchestral music. The rest of the book deals with notes to the Leipzig programs. 726. Fellerer, Karl Gustav. “Carl Reinecke und die Hausmusik,” in Ursula Eckart-Bäcker, ed. Studien zur Musikgeschichte des Rheinlandes, iii, Beiträge zur rheinischen Musikgeschichte, Heft 62 (Köln: Arno Volk, 1965), 103–9. ML 55.S88. First explains Reinecke’s (1824–1910) lifelong concern for education for the Hausmusikanten and then goes into some detail into the actual instructions that Reinecke used to educate students, who were not to become professional but rather to become proficient enough to enjoy Hausmusik. This is based on his Die Musik im Hause: was wollen wir spielen? (Leipzig: F.E.C. Leuckart, 1886). Reinecke believed piano instruction to be essential but also recognized the importance of string instruments in their concern with intonation. Students must learn techniques, musicianship, and sight-reading. He warns against using Haydn and Mozart for teaching pieces since the student is likely to forever after have a block against them as great music. He is generally against salon music as tasteless but prefers elegant movements to teach children how to play and appreciate elegance. Reinecke’s recommended pieces and methods remained basic in Germany from 1860 until 1914, when other kinds of music (return to Baroque, for example) and recordings and radio began to change the nature of Hausmusik. Reinecke recognized chamber music as important for Hausmusik and he recommended graded works for violin + piano,

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cello + piano, and piano + violin + cello. He avoided string quartets, however, and chamber music with winds. Vocal music decreases in importance as the Sangvereins increase; he limited it to duets for women. In this last action, Reinecke differs from August Reissmann, Die Hausmusik in ihrer Organisation und kulturgeschichtlichen Bedeutung 707, who considers song an essential ingredient of education for Hausmusik. ANALYTIC METHODS Studies that are primarily written to codify or verify a particular analytic method sometimes use a specific chamber work or group of chamber works as the vehicle for the exposé. Since most of these studies can also be included in the next section under the study of specific works, only a representative sampling is given here. For additional analyses of 19th- and 20th-century chamber music, see Arthur Wenk’s Analyses of Nineteenth-Century Music, in MLA Index and Bibliography Series, No. 15 Second edition: 1940–80 (Boston: Music Library Association, 1984), 83 pages. ML 118.W43.1984. ISBN 0-914954-29-6. 1st ed, 1976. And Analyses of Twentieth-Century Music: Supplement to Second Edition, in MLA Index and Bibliography Series, No. 14 (1984), 132 pages. ML 118.W462.1984. ISBN 0-914954-28-8. Early Theory See 291 for “modal theory, church keys, and the sonata at the end of the seventeenth century.” Traditional, Pre-20th-century Theory 727. Daube, Johann Friedrich. Der musikalische Dilettant: eine Abhandlung der Kompositionen. Vienna: Johann Thomas Edlen von Trattnern, 1773. English trl. by Susan Pauline Snook, “J.F. Daube’s Der musikalische Dilettant, eine Abhandlung der Komposition (1773): a Translation and Commentary.” PhD dissertation. Stanford University, 1978. UMI 78–22576. MT 40.D381.1978a. 2 vols. I: vii + 426 pages (translation); II: iii + 467 pages (commentary). A textbook on how to compose, designed for dilettantes (music lovers of the leisure classes of whatever ability and training who make music together). Daube takes 6 chapters to deal with gallantstyle music and 6 others with strict style (canon, fugue, and so on). Since chamber music is the music of the dilettante in 1773, this book is of special relevancy to chamber music at that time. It gives a biography of Daube (before 1730–97) and background on his times and

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works (makes much use of Michael Karbaum, “Das theoretische Werk J.F. Daubes,” PhD dissertation, University of Vienna, 1968). There are many references to specific chamber types, such as trios and trio sonatas (“Combining Three Voices”), string quintets and mixed winds and strings (“Composition in Five and More Parts”), and much more. Daube defines terms like “gallant,” gives chamber music illustrations of harmony lessons, discusses ornamentation and variation (written and improvised), and anticipates Goethe’s description of chamber music as conversation or dialogue among instruments with motives as speech. Louise Cuyler, in “Tonal Exploitation in the Later Quartets of Haydn” 1530, demonstrates Haydn’s bimodality and shows that he “explored … [tonal] resources that were not fully realized until a century after his death.” Pleasants Parsons, in “Dissonance in the Fantasias and Sonatas of Henry Purcell” 2018, analyzes the Purcell works on the basis of how “dissonance” is described in 17th-century treatises. 728. Gressang, Jean C. “Textural Procedures in Instrumental Ensemble Music and Chamber Music Prior to the Classic Period.” PhD dissertation. Florida State University, 1978. UMI 78–22170. DAI xxxix.6A, p. 3211. 187 pages. “An inquiry into the identification of, the nature of, and factors contributing to the prominence of dominant textural procedures in chamber music prior to its evolution in the ‘classic’ or modern sense.” Gressang starts with the middle ages; Chapter 3 is devoted to chamber music of the Baroque period and Chapter 4 to the transition to Classic-period stylistic changes in chamber music. 729. Kirkendale, Warren. Fuge und Fugato in der Kammermusik des Rokoko und der Klassik. Tutzing: Hans Schneider, 1966. ML 448.K87. 378 pages. 2nd, rev. and trl. ed. Fugue and Fugato in Rococo and Classical Chamber Music. Durham: Duke University Press, 1979. ML 195. K5713.1979. ISBN 0-8223-0416-3. xxvii + 383 pages. Exhaustive scholarly study of the use of fugues and fugatos, and an attempt to place the famous fugue movements of Haydn’s Op. 20, Mozart’s K. 387, and Beethoven’s Op. 59, Nos. 3, 131, and 133 in context. Part I (Rococo) concentrates on 737 fugal movements by 83 composers from Vienna, Italy, England and several regions of Germany; many chamber works hitherto neglected are shown to be much more common than heretofore believed. Part II (Classical) concentrates on Haydn, Mozart, Beethoven, and Beethoven’s contemporaries (though numerous references are made to Brahms, Mendelssohn, and other later Romantics). The fugue as a separate

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entity is analyzed, as well as the nature of subject, development, cadence, and sequence. Kirkendale considers many types of chamber composition. 730. Tepping, Susan E. “Fugue Process and Tonal Structure in the String Quartets of Haydn, Mozart, and Beethoven.” PhD dissertation. University of Indiana, 1987. DAI Vol. l (July 1989), 19A. 466 pages. A complicated, theoretical analysis of 8 fugue movements in string quartets by Haydn (Op. 20, Nos. 5, 6, and 2, and Op. 50, No. 4), Mozart (K. 168, 173, and 387) and Beethoven (Op. 131) in light of Schenker’s analyses of fugues from J. S. Bach’s Well-Tempered Clavier. See 1861 for the “role of counterpoint in the formation of Mozart’s late style.” 731. Dulak, M. “Canonic Variations: the Changing Repertoire of the String Quartet,” in Strings, Vol. viii (1994), 86+. 732. Schwindt-Gross, Nicole. Drama und Diskurs: zur Beziehung zwischen Satztechnik und motivischem Prozess am Beispiel der durchbrochenen Arbeit in den Streichquartetten Mozarts und Haydns, in Neue Heidelberger Studien zur Musikwissenschaft, Band 5. Laaber: Laaber-Verlag, 1989. ML440.S38D7. ISBN 3-8900-7112-0. 265 pages. By comparing the string quartets of Mozart and Haydn, SchwindtGross attempts to contrast different conceptions of composition— dramatic versus conversational respectively. The latter (conversational) is characterized by a dichotomy between the horizontal motion of the parts and the verticle sound of individual chords. This is a significant treastise on aesthetics coupled with detailed theoretical explications of the music. 733. Parker, Mara E. The String Quartet, 1750–1797: Four Types of Musical Conversation. Aldershot/Burlington (VT): Ashgate, 2002. ISBN 1840146826. xiii + 315 pages. Parker uses the conversation metaphor of Goethe for string quartets. She sees 4 kinds of the genre: lecture, polite conversation, ordinary conversation, and debate, but their specific relevance to the repertoire is not defined. For a criticism, see Hendrik Schulze in Mozart Jahrbuch (2003–4), pages 290–91. See also Nicole Schwindt-Gross’ Drama und Diskurs 732. See 236 for an important discussion of how the power of string quartets from Haydn to Carter transcends the music itself, just as the power of words transcends the meaning of sentences and paragraphs.

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László Somfai, in “A Bold Enharmonic Modulatory Model in Joseph Haydn’s String Quartets” 1556, demonstrates Haydn’s use of enharmonic spellings. See also Michael Montgomery’s “A Critical Analysis of the Modulations of W.A. Mozart in Selected Late Instrumental Works” 1926. Hartmut Fladt 835 deals with the flexible sonata form from Beethoven’s Op. 59 on that was inherited by Bartók. 734. Fairleigh, James Parkinson. “Transition and Retransition in Selected Examples of Mozart’s Sonata-Type Movements.” PhD dissertation. University of Michigan, 1973. UMI 74–3620. DAI xxxiv.10A, p. 6684. 276 pages. Includes movements from string quintets, string quartets, duo sonatas, piano trios, piano quartets, as well as non-chamber music types. 735. Nicolosi, Robert Joseph. “Formal Aspects of the Minuet and Tempo di Minuetto Finale in Instrumental Music of the Eighteenth Century.” PhD dissertation. Washington University, 1971. UMI 72–9360. DAI xxxii.9A, p. 5273. 202 pages. An important study of the last movement minuet found in so many 18th-century instrumental works, among them many chamber pieces (especially violin + piano sonatas). While the emphasis is on Haydn, Mozart and Beethoven, other composers in other areas of Europe are considered as well. The minuet was expanded in form when it became such a final movement, and the term “tempo di minuetto” was usually a sign of such expansion. See 992 for a Schenkerian analysis of the original fugue of Beethoven’s Op. 130. See 891 for several essays on form, syntax, and other theoretical questions in regard to Beethoven’s chamber music. 736. Kopp, David. Chromatic Transformations in Nineteenth-Century Music. Cambridge Studies in Music Theory and Analysis. Ian Bent, ed. Cambridge: Cambridge University Press, 2002. ISBN 0521804639. xiii + 275 pages. A fascinating exploration of progressions of triads by thirds whereby there is a common tone from one chord to the next but otherwise chromatic changes. Kopp includes examples from such chamber pieces from the 19th century as Brahms’s F minor Clarinet Sonata, Beethoven’s Spring Sonata, Chausson’s Piano Trio in G minor, Chopin’s Cello Sonata, Schubert’s String Quartet in G major and String Quintet in C major, and Smetana’s First String Quartet. This is a highly technical theoretical study—neo-Riemann or transformational theory— for the professional theorist.

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737. Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley/Los Angeles/London: University of California Press, 1984. MT 92.B81F7.1983. ISBN 0-520-04700-1. xv + 217 pages. An analysis of Brahms’s works in general from the standpoint of an expanded interpretation of Schoenberg’s approach. Schoenberg’s concept of developing variation is regarded as essential to Brahms, and Schoenberg considered it a major compositional concept. It “is primarily a thematic or melodic procedure,” whereby the whole piece evolves out of a continual reshaping of a theme or melody. In demonstrating this, Frisch uses most of Brahms’s chamber music (as well as symphonies and piano music) as examples, showing how Brahms altered his idea of variation. For example, the chapter “Song and Chamber Music, 1864–79” stresses Brahms’s development of the developing variation principle in songs between 1865 and 1873 and then in the 2 Opp. 51 quartets. The songs come between 2 outpourings of chamber music: 1862–5 and 1873. Robert Moevs’s “Intervallic Procedures in Debussy: Serenade from the Sonata for Cello and Piano, 1915” 1332 is a concentrated analysis of the opening 2 intervals in the movement and how they generate the entire movement. William Hymanson, in “Hindemith’s Variations: a Comparison of Early and Recent Works” 1605, is a study of Hindemith’s concept of theme and variations and how that concept changed during his career. Friedhelm Krummacher, in “Kantabilität als Konstruktion: zum langsamen Satz aus Mozarts Streichquartett KV 465” 1893, shows that the structure of the slow movements evolves out of the cantabile of the opening theme and continues to evolve until the end of the movement. This is quite different from forms based on contrast. The form is not transferable; it depends on the particular cantabile melody. Such structure is hard to analyze with words. 738. Altmann, Wilhelm. “Zur weiteren Entwicklung der Kammermusik,” in Zeitschrift der Internationalen Musikgesellschaft, iv (1902–3), 257–8. An important statement on the use of cyclic form by Schubert, Anton Rubinstein, and others in their chamber music. Altmann says Rubinstein even went so far as to repeat the first themes of his first 2 violin + piano sonatas at the beginning of his third violin + piano sonata. 739. Fisher, John Frederic. “Cyclic Procedures in the String Quartet from Beethoven to Bartok.” PhD dissertation. The University of Iowa, 1981. UMI 81–23319. DAI xlii.5A, p. 1844. 235 pages. After discussion of the cyclic idea from the Middle Ages to the 18th century, Fisher gives an analysis of that idea in the middle and late

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quartets of Beethoven, the quartets of Schubert, Mendelssohn, Schumann, Brahms, Dvorák, Grieg, Franck, Debussy, Ravel, Schoenberg, and Bartók. “Cyclic” is considered in different ways: earlier quartets have implicit cyclic levels, later quartets have explicit ones. 740. Sharp, J. Wharton. “The Introduction in Relation to the String Quartet,” in The Strad, xxiii (1913), 359–61, 415–16, 458–60, xxiv (1914), 17–19, 54–5. Discusses the use of “introductions” to quartets or quartet movements from Haydn to César Franck but with emphasis on the classical composers. Sharp shows how they do not simply quiet the audience down but provide vital material for what follows. Much more up-to-date and thorough discussions of the same topic (but not limited to chamber music) are Rudolf Klinkhammer, Die langsame Einleitung in der Instrumental-musik der Klassik und Romantik (Regensburg: 1971) and Klaus Kropfinger, “Zur thematischen Funktion der langsamen Einleitung bei Beethoven,” in Festschrift J. Schmidt-Görg (Bonn: 1967), pages 197–216. 741. Moe, Orin, Jr. “The Implied Model in Classical Music,” in Current Musicology, No. 23 (1977), 46–55. While many compositions of the classical period are based explicitly on earlier pieces, Moe finds that many more are based on implied models—not on a specific example but on what is perceived by the listener as the norm for a particular practice. The examples used to demonstrate this are primarily Haydn string quartets. 742. Coonrod, Michael McGill. “Aspects of Form in Selected String Quartets of the Twentieth Century.” DMA dissertation. Peabody Institute of the Johns Hopkins University, 1984. UMI 84–17659. DAI xlv.5A, p. 1233. 219 pages. Analyzes structure in general in string quartets from 1900 to 1971 and styles, pitch organization, harmony, rhythms, texture, and overall shape in Berg’s Lyric Suite (1926), Bartók’s Fourth Quartet (1928), Seeger’s Quartet (1931), Lutoslawski’s Quartet (1964), Carter’s Third Quartet (1971), and Xenakis’s First Quartet St/4–1,080262 (1962). Coonrod notes the similarities as well as the differences in their structure. An appendix gives “a complete serial analysis of the Lyric Suite.” 743. Drew, John Robert. “Classic Elements in Selected Sonatas for Trombone and Piano by Twentieth-Century American Composers.” DMA dissertation. University of Kentucky, 1978. UMI 78–24393. DAI xxxix.6A, p. 3208. 97 pages.

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Analysis of 9 sonatas by Halsey Stevens, Richard Monaco, Klaus George Roy, John Davison, Paul Hindemtih, George F. McKay, Robert W. Jones, Walter Watson, and Henry Cowell. The abstract does not define “classic.” 744. Rogers, Joseph Earl. “Ideas of Brevity: Beethoven, Opus 126; Chopin, Opus 28; Webern, Opus 9.” PhD dissertation. City University of New York, 2005. 2 vols. I: xiv + 152; II: vii + 54 leaves. A fascinating treatise on what brevity in music signifies and how it has been undervalued by many historians and theorists. After defining and analyzing the concept of brevity, which includes a chapter on Liszt, Schumann, and Delacroix, Rogers treats the subject in detail in several, brief, non-chamber music compositions of the 19th century and Webern’s String Quartet Op. 9. 20th-century Theories For an early demonstration of the 12-tone technique in chamber music, see Erwin Stein’s “Schoenberg’s New Structural Form” 2147. 745. Stein, Erwin. “Schönberg’s Bläserquintett,” in Pult und Taktstock, iii (1926), 103–7. Stein describes the use of the wind quintet to explain the basic principles of 12-tone, atonal composition. He analyzes the form of the 4 movements and only generalizes about other matters, including the virtuosity required of the players. Norbert Dietrich in Arnold Schönbergs Drittes Streichquartett op. 30: seine Form und sein Verhältnis zur Geschichte der Gattung 2144, discusses the problem of sustaining longer movements when the use of shifting tonal centers is no longer relevant. Dietrich believes there is a connection between the row and form, and seeks to find what remains of traditional form in this piece. He considers rhythmic contribution to form as well. Stephen Peles, in “Interpretations of Sets in Multiple Dimensions: Notes on the Second Movement of Arnold Schoenberg’s String Quartet #3” 2146, presents a complicated, highly technical discussion of the interaction of the particular row (set) on the movement as a whole. Szentkirályi’s analyses of 2 sonata movements by Bartók 877 carry mathematical analysis to the extreme. 746. Corson, Langdon. Arnold Schoenberg’s Woodwind Quintet, Op. 26: Background and Analysis, ed. by Roy Christensen. Nashville: Gasparo Co., [1984]. MT 145.S26C67. iii + 87 pages. 3 oversized inserts (analyzed examples, bar graphs, and row chart).

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Intended as a companion to the Gasparo GS-204 recording of the quintet by the Oberlin Woodwind Quintet, this book serves as an excellent introduction to Schoenberg’s methodology and the structure of the piece. It begins with historical background, continues with technical analyses of the handling of the row and form, and ends with a critique of Schoenberg’s music by George Rochberg. The Quintet (1924) was Schoenberg’s first full-length composition using the 12-tone technique. Schoenberg’s primary aim was to seek unity without tonality; the method was not important in and of itself but as a means to good-sounding music. See Richard Hill, “Arnold Schoenberg: String Trio” 2166. Bruce Archibald, in “Some Thoughts on Symmetry in Early Webern: Op. 5, No. 2” 2399, demonstrates how Webern constructs chords symmetrically or nearly symmetrically and how the former act on the latter. 747. Pleasants, Henry, and Tibor Serly. “Bartók’s Historic Contribution,” in Modern Music, xvii (March–April, 1939), 131–40. Cites Bartók’s subordination of harmony to the melodic line as his major contribution in breaking with 19th-century tradition. The authors briefly trace this concept in several pieces: the second sonata for violin + piano and string quartets Nos. 3 and 4. 748. Kárpáti, János. “Alternative Structures in Bartók’s ‘Contrasts,” in Studia Musicologica, xxiii (1981), 201–7. 749. Thomas, Jennifer. “The Use of Color in Three Chamber Works of the Twentieth Century,” in Indiana Theory Review, iv, No. 3 (1981), 24–40. Analysis of color in Webern’s Quartet Op. 22, Stravinsky’s Abraham and Isaac, and Crumb’s Eleven Echoes of Autumn, and shows how in the last piece that “color has reached a peak of importance.” Herbert Ritsema, in “The Germ Cell Principle in the Works of Willem Pÿper (1894–1947)” 1989, defines the concept and traces it in some chamber and other works by Pÿper. See also Peter Dickinson’s “The Instrumental Music of Willem Pÿper (1897–1947)” 1988 for further discussion of the germ cell idea. 750. Landau, Victor. “The Harmonic Theories of Paul Hindemith in Relation to his Practice as a Composer of Chamber Music.” PhD (education) dissertation. New York University, 1957. UMI 58–664. DA xviii.3, pp. 1062–3. 342 pages. Considers Hindemith’s music a3–7, taken from 7 different creative periods between 1917 and 1952. Landau selects 2 movements from pieces

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from each period and extracts an opening, middle, and closing portion of each to analyze according to Hindemith’s theories of harmony. He finds that Hindemith obeyed his own rules less than one would expect. See also William Hymanson’s “Hindemith’s Variations: a Comparison of Early and Recent Works” 1605. Ronald Henderson, “Tonality in the Pre-Serial Instrumental Music of Roger Sessions” 2263, studies tonality in light of Sessions’s own comments and Hindemith’s theories of harmonic and melodic progression. Richard Derby, in “Carter’s Duo for Violin and Piano” 1266, attempts to demonstrate Carter’s theory of composition within this piece. It is highly technical. 751. Soskin, Eileen. “Cadences and Formal Structure in Four American String Quartets: Elliott Carter: String Quartet No. 3; Andrew Imbrie: Fourth String Quartet; Fred Lerdahl: First String Quartet; Seymour Shifrin: Fifrth String Quartet.” PhD dissertation. University of California at Berkeley, 1986. 363 pages. DAI Vol. xlviii (November 1988), p. 1052A. Soskin analyzes these 4 quartets to determine how the different concepts of formal structures and cadences are put into practice. 752. Corbett, R. D. “Simultaneity in Twentieth-Century Music and TimeStreams for String Quartet.” DA dissertation. University of Northern Colorado, 1987. 247 pages. DAI Vol. xlviii (January 1988), p. 1575A. Concerns the interesting concept of simultaneity in music, with special attention to the second quartet of Elliott Carter. 753. Gibson, John. “Listening to Repetitive Music: Reich, Feldman, Andriessen, Autechre.” PhD dissertation. Princeton University, 2004. vii + 89 leaves. A personal reaction to listening to minimalist music, which causes disorientation. One of the pieces analyzed is Morton Feldman’s (1926–87) Piano and String Quartet, which requires meditative listening. In the past, narrative listening was the norm; this required the listener to follow musical events (developing themes and rhythms, form, anticipation of what should come). Meditative listening focuses on the now; it focuses on what is heard at the moment, without making links to previous or future musical events. Newer Approaches to Theory of Older Music Allen Forte, in “Bela Bartok: Fourth String Quartet (I) 1928,” in Contemporary Tone Structures 855 gives a Schenkerian analysis of the first movement,

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which serves to demonstrate Forte’s approach to analysis. Werner Hümmeke, in Versuch einer strukturwissenschaftlichen Darstellung der ersten und vierten Sätze der zehn letzten Streichquartette von W.A. Mozart 1894, proposes to present scientifically the structure of the first and fourth movements of Mozart’s string quartets in order to be able to properly compare them to Haydn’s. The scientific structure of a piece is determined by the actual appearance of the music and not in reference to anything existing a priori, including forms. For a similar study of Haydn’s Op. 76 quartets, see Burckhard Löher’s book on Haydn 1562. Hans Keller, in “Functional Analysis of Mozart’s G minor Quintet” 1927, analyzes without words. Jonathan Kramer, in “Multiple and Non-Linear Time in Beethoven’s Opus 135” 1018, considers different concepts of time (clock time versus experiential time), with the Beethoven used as demonstration. Kopfermann 985 questions the meaning and logic of analysis and finds Reti’s approach most effective. 754. Cleland, Kent D. “Musical Transformation as a Manifestation of the Temporal Process Philosophies of Henri Bergson.” PhD dissertation. University of Cincinnati, 2003. ISBN 0496684329. v + 213 pages. Musical transformation is how musical ideas are developed in a piece over a given time span. A theory of musical transformation must include coherence and change—what keeps a piece together and what keeps on changing. Several important music theorists— from Heinrich Christoph Koch to David Lewin—have grappled with this theory, which has also been treated by the philosopher Henri Bergson. Cleland analyzes Bergson’s theory in relation to the music theorists’ versions and applies Bergson’s methodology to the first movement of Joseph Haydn’s String Quartet Op. 76, No. 6, as well as to non-chamber music works by Bach, Mussorgsky, and Schoenberg. Newer Theories for 20th-century String Quartets 755. Hechtel, Herbert. “Untersuchungen zur Gestaltsanalyse, durchgeführt an Streichquartetten in der Neuen Musik nach 1950.” PhD dissertation. University of Erlangen. Not seen. 756. Schweitzer, Eugene William. “Generation in String Quartets of Carter, Sessions, Kirchner, and Schuller: a Concept of Forward Thrust and its Relationship to Structure in Aurally Complex Styles.” PhD dissertation. University of Rochester, 1966. UM 66–2363. DA xxvii.6A, p. 1856. 202 pages (DA = 215 pages). Schweitzer picks Carter’s Second, Session’s Second, Kirchner’s First, and Schuller’s First string quartets to study forward drive—tension

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to relaxation; the mental functions of retrospection, synthesis, and expectation; and motor elements versus intellectual elements. 757. McNeal, Horace Pitman. “A Method of Analysis Based on Concepts and Procedures Developed by Allen Forte and Applied to Selected Canadian String Quartets, 1953–62.” PhD dissertation. Ohio State University, 1979. UMI 79–22527. DAI xl.4A, p. 1742. 219 pages. The quantitative measurement of unordered pitch class collections in 4 string quartets by Canadian composers Jean Coulthard, Harry Somers, Claude Champagne, and John Weinzweig. A highly technical study for the professional music theorist. 758. Salibian, Ohannes Sarkis. “String Quartet Process.” PhD dissertation. University of Iowa, 1980. UMI 81–14297. DAI xlii.1A, p.16. 16 pages. An attempt to develop a new notational system for string quartet writing that allows for new musical ideas and, by the “elimination of unnecessary ambiguities,” arrives at “more precise musical elements.” This dissertation is designed for the composer. 759. Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press, 2004. ISBN: 025334459X. ix + 358 pages. A study in musical semiotics that includes interpretation of a style type in the opening of Beethoven’s Ghost Trio, Op. 70, No. 1; of the third movement of Beethoven’s String Quartet in B major, Op. 130; and of thematic gesture in Beethoven’s Sonata for Piano and Violoncello in C major, Op. 102, No. 1. 760. Bryden, Kristy Ann. “Musical Conclusions: Exploring Closural Processes in Five Late Twentieth-Century Chamber Works.” PhD dissertation. University of Wisconsin—Madison, 2001. DAI, lxii (January 2002), p2278A. vi + 104 pages. After analyzing closures in Beethoven’s Op. 131 quartet, Bryden determines that there are 6 elements to musical closure. She then discusses this in 5 non-tonal chamber works by Joan Tower, John Harbison, George Pearle, Ralph Shapey, and Barbara Kolb. ANALYSIS OF SPECIFIC WORKS The following is an alphabetical list of composers of chamber music, about whose music significant studies have been written. The studies sometimes are of individual compositions; at other times they consider groups of chamber works or a composer’s entire output of chamber music. Some of the studies

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are analytical: either in a general sense or in a highly technical sense. Other studies are more historical, with an attempt to place the work or the composer in a larger context or simply to place the piece in a time and locale. The remaining studies are bibliographical, with an emphasis on the location, condition, and verification of sources. For additional analyses in collections, see Renner 218, Berger 219, many of the general histories and generic histories, and the following: 761. Der Musikführer. Nos. 1–150: Frankfurt a/Main: H. Bechhold, late 19th century. Nos. 151 and following: Leipzig: Hermann Seemann, 1903. A collection of separate booklets each devoted to the analysis of a particular work or group of works, of which Nos. 23, 45, 57, 160, 211, 225, 226, 228, 235, 238, 244, 245, 248, 285, 289, 298, 360, 361, and 363 are chamber works by Beethoven, Brahms, Volkmann, Paul Juon, Schubert, Schumann, and Smetana. The booklets are written by different German authors such as H. Riemann, Walter Niemann, Georg Riemenschneider, and others. For thematic catalogues including the chamber music of many individual composers, see Barry Brook, Thematic Catalogues in Music: An Annotated Bibliography (Hillsdale [NY]: Pendragon Press, 1972), ML 113.B86. Karl Friedrich Abel 1723–87 762. Knape, Walter. Karl Friedrich Abel: Leben und Werk eines frühklassischen Komponisten. Bremen: Schünemann Universitätsverlag, 1973. ISBN 3-7961-3036-4. 240 pages. A biography and then a discussion of the elements of Abel’s music, including 21 string quartets, 37 trio sonatas, 32 solo + keyboard sonatas, and 45 gamba sonatas + basso continuo. Knape considers style, form, articulation, rhythm, and other matters. Abel lived in London from 1758 on and from 1763 was associated there in concerts with J.C. Bach. Eugène D’Albert 1864–1932 763. Pangels, Charlotte. Eugen D’Albert: Wunderpianist und Komponist: eine Biographie. Zurich: Atlantis, 1981. HML 1250.15.68. ISBN 3-7610595-9. This list of D’Albert’s works includes 2 string quartets. The events leading up to their composition and first performance are described; Pangels gives documents, especially letters.

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Tomaso Albinoni 1671–1750 764. Giazotto, Remo. Tomaso Albinoni: “Musico di Violino Dilettante Veneto” (1671–1750), con il Catalogo Tematico delle Musiche per Strumenti, in Storia della Musica, Series 11. Milan: Fratelli Bocca, 1945. HML 1256.33. 362 pages. After a biography of Albinoni and the historical background of the trio sonata in Venice 1650–1700, Giazotto gives an analysis of each of Albinoni’s 9 published collections (3 are labeled “sonatas”) and some miscellaneous ones. He includes a thematic catalogue. 765. Talbot, Michael. “The Instrumental Music of Tomaso Albinoni (1671–1741).” PhD dissertation. Cambridge University, 1969. RILM 70–1776. 3 vols. 707 pages. After a biography and general assessment of Albinoni the man, Talbot gives an historical, and then an analytical discussion of his chamber and orchestral music. He assumes that all works with violas are symphonic, and that all works without violas, are chamber. This gives 25 sonatas a tre (Op. 1, 1694 and Op. 8, 1718–9), 18 balletti a tre (Op. 3, 1701 and Op. 8), and 30 “solo” sonatas (1709, c.1712, 1717, and 1741–2), plus a few other pieces. Talbot studies the original prints and their contents, considers authenticity and dating, and discusses concordances. He gives an analysis of form and style. 766. Newman, William S. “The Sonatas of Albinoni and Vivaldi,” in Journal of the American Musicological Society, v (1952), 99–113. An attempt to characterize the 47 so-called sonatas of Albinoni and the 76 known sonatas of Vivaldi, with identification of sources and editions. Newman gives a comparison of Albinoni and Vivaldi with each other and with the Corelli sonatas. This is an excellent general description of these works based on solid scholarship. Johann Georg Albrechtsberger 1736–1809 767. Harpster, Richard William. “The String Quartets of Johann Georg Albrechtsberger: an Historical and Formal Study.” PhD dissertation. University of Southern California, 1976. DAI xxxvi.11A, p. 7035. An examination of the 85 extant string quartets, which are influenced by C.P.E. Bach’s generation of composers, by contemporary Viennese composers (Mozart, Haydn, Beethoven), and by contrapuntalists (Fux, Marpurg, and Kirnberger). Albrechtsberger’s sonatas are more archaic prelude-fugue type movements, while the quartets are more

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up-to-date. Harpster considers form, theme contrast, developmental techniques, method of retransition, and recapitulation. He includes an annotated thematic catalogue of the quartets with bibliographic data. Franco Alfano 1875–1954 768. Pannain, Guido. “Sonata per Violoncello e Pianoforte di Franco Alfano,” in Rivista Musicale Italiana, xxxiii (1926), 604–20. Extensive review and analysis of this sonata published in 1926 by Universal Editions, Vienna. Pannain regards the work as very important in the history of contemporary Italian music. The analysis is descriptive and subjective. Alexander Nikolayevitch Aliabev 1787–1851 769. Greene, Carol. “The String Quartets of Alexander Alexandrovich Aliabev,” in The Music Review, xxxiii (1972), 323–9. A biography and brief discussion of the basic forms and style of the 2 surviving string quartets by this pioneer of Russian chamber music. John Antes 1740–1811 770. Stolba, K. Marie. “Evidence for Quartets by John Antes, AmericanBorn Moravian Composer,” in Journal of the American Musicological Society, xxxiii (1980), 565–74. Stolba discovers letters in the Benjamin Franklin archives in Philadelphia, written to Franklin from Antes, the first American-born composer to have written chamber music. The letters mention that Antes is sending Franklin a copy of his 6 quartets, but the whereabouts of the music is unknown. 771. Kroeger, Karl Douglas. “What Happened to the Antes String Quartets?” in Moravian Music Journal, Vol. xli (1996), 23–6. Anton Stepanovitch Arensky 1861–1906 772. Chepin, G. A.S. Arenskii. Moscow: Muzyka, 1966. HML 1310.15.87. 180 pages. In Russian. A discussion of Arensky’s music (chamber music on pages 118–39), with ample musical examples. Chepin concludes with a list of Arensky’s works by opus number and a chronology of his life.

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Thomas Arne 1710–78 773. Sadie, Stanley. “The Chamber Music of Boyce and Arne,” in The Musical Quarterly, xlvi (1960), 425–36. The trio sonatas of each composer are their only chamber music: Boyce’s 12 in 1747 and Arne’s 10 in 1757. Sadie gives an historical account of their publication (Boyce’s might also have been orchestrally performed) and an analysis of their basic forms, styles, and meters. Boyce’s published versions are compared to manuscript copies with the composer’s corrections. Milton Babbitt b.1916 774. Borders, Barbara. “Formal Aspects in Selected Instrumental Works of Milton Babbitt.” PhD dissertation. University of Kansas, 1979. DAI xl.8A, p. 4290. 232 pages. Analyzes certain formal characteristics of Babbitt’s Composition for Twelve Instruments (1948, 1954), Sextet for piano and violin (1966), and String Quartet No. 3 (1970). Borders considers first “a formal overview, based primarily on audibly perceptible organization,” then the organization of pitch and rhythm, and finally how these 3 “totally organized” works compare with each other. 775. Sward, Rosalie La Grow. “An Examination of the Mathematical Systems Used in Selected Compositions of Milton Babbitt and Iannis Xenakis.” PhD dissertation. Northwestern University, 1981. DAI xlii.5A, p. 1848. 609 pages. A highly technical study of the mathematical systems used in Babbitt’s String Quartet No. 2 and Xenakis’s ST/4–1,080262 for String Quartet (as well as several other works by the 2 men). It involves computer analysis and comparison of their works. 776. Zuckerman, Mark Alan. “Derivation as an Articulation of Set Structure: a Study of the First Ninety-two Measures of Milton Babbitt’s String Quartet No. 2.” PhD dissertation. Princeton University, 1976. DAI xxxviii.7A, pp. 3799–3800. 164 pages. An analysis of the 12-tone structure of these 92 measures. “In particular, structures derived from the background set are traced to their realizations at levels beneath and on the surface of the piece.” After raising basic issues and analyzing the background set, Zuckerman considers the 12 different aspects of the whole score, such as the large-scale episodic plan of the quartet. This is a highly technical, theoretic discussion for professional theorists.

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777. Zuckerman, Mark Alan. “On Milton Babbitt’s String Quartet No. 2,” in Perspectives of New Music, xiv, No. 2, and xv, No. 1 (1976), 85–110. A detailed discussion of the row (set) of the quartet, its permutations and combinations, and its effect on dynamics, form, harmony, and orchestration. There then follows a poetic-prose description of the successive events of the quartet based on technical theoretic analysis. 778. McLane, Alexander B. “The Study of African Rhythm as a Model for Understanding Rhythm in Two Representative Twentieth-Century American Works.” PhD dissertation. University of Illinois, 1992. 173 pages. DAI Vol. liii (January 1993), p. 2154A. Applies a non-Western concept of rhythm to understand 20th-century American chamber music. McLane uses Aaron Copland’s Piano Sonata and Milton Babbitt’s String Quartet No. 2 to demonstrate his point. 779. Arnold, Stephen, and Graham Hair. “An Introduction and Study: String Quartet No. 3,” in Perspectives of New Music, xiv, No. 2, and xv, No. 1 (1976), 155–86. An introduction to Babbitt’s terminology and methods of analysis and their application to his third string quartet. A detailed analysis of the row (set) and its bearing on the 4-part structure of the piece and its rhythm. The article includes charts. 780. Hogg, James. “Navigating Babbitt: an Investigative Journey through Milton Babbitt’s ‘String Quartet No. 6.’” DMA dissertation. Juilliard School, 2004. vi + 81 pages. 781. Tsang, Tak-Chee. “Transfigurations in Milton Babbitt’s Composition for Four Instruments.” Sonus, xxiii (Fall 2002), 1–19. An analysis of the pitch sets (tone rows) that Babbitt uses in this composition (1947) and of the rhythmic and color sets in the first and last (15th) movements. The aim is to show the unity of the work and at the same time the contrast and diversity within it. 782. Hush, David. “Asynordinate Twelve-Tone Structures: Milton Babbitt’s Composition for Twelve Instruments,” Part 1, in Perspectives of New Music, xxi (1982–3), 152–208. A highly technical, mathematical analysis for advanced music theorists of Babbitt’s piece of 1948 for woodwind quintet, string trio, trumpet, harp, celesta, and string bass. Hush builds on Babbitt’s own essay “Set Structure as a Compositional Determinant” to show how Babbitt applies the example of Schoenberg’s 12-tone system to his own music. Babbitt’s analysis of Schoenberg’s Fourth String Quartet results in a theoretical system for 12-tone music; it goes on to show

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“how entire twelve-tone compositions may be seen to be consequences of the structure of the original sets on which they are based.” Grazyna Bacewicz 1909–69 783. Rosen, Judith. Grazyna Bacewicz: Her Life and Works, in Polish Music History Series, No. 2. Los Angeles: University of Southern California, 1984. ML 410.B08R7.1984. ISBN 0-916545-00-8. 70 pages. An extensive biography and categorical list of works by Bacewicz, a Polish violinist and composer. She wrote a great many chamber pieces, including 7 string quartets, sonatas, a wind quintet, and other pieces for various combinations of instruments. An analysis of this music awaits a proposed companion volume. 784. Shofner, Terree Lee. “The Two Piano Quintets of Grazyna Bacewicz: an Analysis of Style and Content.” DMA dissertation. University of Wisconsin, 1996. DAI Vol. lvii (October 1996), p. 1383A-4A. 175 pages. Study of the 2 quintets written by Bacewicz in 1952 and 1965. She was an important Polish composer. The first quintet is influenced by folk music, while the second is atonal and much more experimental. Carl Philipp Emanuel Bach 1714–88 For a catalogue of Bach’s chamber music, see Alfred Wotquenne, Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714–1788), (1905; reprint Wiesbaden: Breitkopf & Härtel, 1964), pages 53–69. ML 134. B08W6.1964. 785. Schmid, Ernst Fritz. Carl Philipp Emanuel Bach und seine Kammermusik. Kassel: Bärenreiter, 1931. ML 410.B16S3. xii + 189 pages + 71 pages of music (154 examples) + 18 facsimiles of music, title pages and portraits. The basic study of this Bach’s chamber music. It is a scholarly, detailed, well-documented and well-written book. Schmid defines chamber music as all pieces for 1 or more melody instruments with or without continuo as well as obligato keyboard + 1 or more melody instruments. He excludes pieces for 1 or more keyboards, concertos, sinfonias, marches and dance music. He begins with a description of the aesthetics between 1730 and 1780 in Italy, France, Poland, and Germany, and bases much of the discussion on national differences in chamber music. Only by leaving Berlin and freeing himself from

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its music, was Bach able to accept other nationalistic types (especially from Austria and South Germany). Schmid reviews contemporary German attitudes toward chamber music from J.A. Scheibe, Chr.Fr.O. Schubart, and J.G. Sulzer, where it is inferior to programmatic and vocal music; these theorists believe that chamber music is school music, a study for more important things. This study contains detailed analyses and is rich in quotations by 18th-century theorists and commentators; through Schmid’s judicious selections and conclusions, the reader will gain an understanding of chamber music in the period far beyond the works of C.P.E. Bach. This is the North-German supplement to studies of Viennese, French, Mannheimer, and Italian chamber music of the time. 786. Schulenberg, David Louis. The Instrumental Music of Carl Philipp Emanuel Bach. Ann Arbor: UMI Research Press, 1984. ML 410. B16S35.1984. ISBN 08357-1564-7. 202 pages. A corrected print of his PhD dissertation. State University of New York at Stony Brook, 1982. DAI xliii.4A, p. 969. 427 pages. The ensemble sonatas are treated along with solo keyboard works, concertos and symphonies, in the context of what contemporary theorists describe as form, rhythm, and the generation of melodic material. The emphasis is on Bach’s whole instrumental output. It defines Bach’s own standards that he set for himself without imposing criteria of Classical or Baroque music that are irrelevant to Bach. Schulenberg points to a kind of mannerism in his music, and to the probable influence of Telemann on Bach in the trio sonatas. This is the best account of the aesthetics and fundamental structural aspects of Bach’s instrumental music—chamber music en passant. 787. Fillion, Michelle. “C.P.E. Bach and the Trio Old and New,” in C.P. E. Bach Studies, ed. Stephen L. Clark (Oxford: Clarendon Press/New York: Oxford University Press, 1988), 83–104. Fillion is concerned initially with the trio sonatas of C.P.E. Bach scored for 2 treble instruments (such as flute and violin) with continuo (keyboard, figured or unfigured), and with the obligato keyboard sonatas by Bach scored for keyboard (with written-out right hand) and a single additional treble instrument (such as flute or violin). Six of the obligato keyboard sonatas are arrangements of earlier trio sonatas (essentially 1 of the treble instruments is taken over by the right hand of the keyboard) and thus demonstrate a stage in the transition during the middle-18th century from the Baroque trio sonata to the Classical piano trio. Fillion analyzes the treatment of the instruments and their relationship to each other. She

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then concludes by comparing these mid-century obligato keyboard sonatas with Bach’s later (1775–7) sonatas for keyboard with violin and violoncello. Through this discussion, Fillion shows that the accompanied sonata grows out of the obligato duo—at least in the case of C.P.E. Bach. 788. Jacobs, Richard Morris. “The Chamber Ensembles of C.P.E. Bach Using Two or More Wind Instruments.” PhD dissertation. University of Iowa, 1963. UM 64–7926. DA xxv.2, pp. 1248–49. xvii + 193 pages. After giving historical background on Bach and a chronological discussion of ensemble music with winds prior to him, Jacobs considers both orchestral and chamber music by Bach that includes at least 2 or more winds. He analyzes the pieces and gives bibliographical information. 789. Miller, Leta E. “Structural Ornamentation in C.P.E. Bach’s Sonatas for Flute and Continuo,” in Studies in the History of Music, Vol. 3: The Creative Process (Williamstown [MA]: Broude Brothers Ltd., 1993), 107–28. A technical analysis of several flute-continuo sonatas by C.P.E. Bach that demonstrate Bach’s manipulation of simple chord progressions through “a process of structural ornamentation.” Such a procedure is stated in his Versuch über die wahre Art das Clavier zu spielen (1753). 790. Werner, Klaus G. “Formeln und Kombinationen – Empfindungen und Individualisierungen zum Kopfsatz des Quartetts a-moll (Wq93, H 537) von C.P.E. Bach,” in Die Musikforschung, xlvi (1993), 371–90. Analysis of the “Quartet” for transverse flute, viola, and obligato pianoforte. Johann ( = John) Christian Bach 1735–82 791. Mekota, Beth Anna. “The Solo and Ensemble Keyboard Works of Johann Christian Bach.” PhD dissertation. University of Michigan, 1969. UM 69–18059. DAI xxx.5A, p. 2063. 309 pages (DAI = 317 pages). Discusses mostly keyboard sonatas with flute or violin. Mekota points out omissions and other weaknesses. 792. Roe, S.W. “The Keyboard Music of J.C. Bach: Source Problems and Stylistic Development in the Solo and Ensemble Works.” PhD dissertation. Worcester, Oxford University, 1982. Not seen.

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793. Keahey, Delores Elaine Jerde. “The Genoa Manuscripts: Recently Rediscovered Trios of Johann Christian Bach.” PhD dissertation. University of Texas, 1977. UMI 78–07332. DAI xxxviii.12A, p. 7014. 621 pages. Discusses 8 trios for 2 violins + bass and 3 trios for violin + cembalo + bass, preserved in a Genoa manuscript. Keahey includes “the first watermark studies devoted to Bach’s works,” a thematic index of all his trios (some 40), an updated biography, and a critical edition of the 11 analyzed trios. 794. Roe, Stephen. “The Sextet in C Major, by J.C. or J.C.F. Bach?” in Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period: Essays in Honour of Alan Tyson, ed. Sieghard Brandenburg (Oxford: Clarendon Press, 1998), 13–19. Based on new evidence in a manuscript in Cracow, Roe affirms the authorship of this sextet for oboe, violin, 2 horns, violoncello, and keyboard to be that of Johann Christian Bach. Johann Christoph Friedrich Bach 1732–95 795. Wohlfarth, Hannsdieter. Johann Christoph Friedrich Bach: ein Komponist im Vorfeld der Klassik, in Neue Heidelberger Studien zur Musikwissenschaft, Band. 4. Bern/Munich: Francke Verlag, 1971. HML 1373.60.95. 263 pages. Originally PhD dissertation “Johann Christoph Friedrich Bach als Instrumentalkomponist.” University of Heidelberg, 1968. RILM 71–648. The chamber music of this Bach takes up only pages 171–84; the rest of the book deals with symphonies, concertos, keyboard works, biography and bibliography. The second youngest son of J.S. Bach, J.C.F. worked in Bückeburg and wrote 30 chamber pieces (27 survive): 15 for flute, violin or cello + piano or harpsichord, 3 trio sonatas, 4 keyboard trios, 6 flute quartets, a sextet (2 horns + oboe + violin + cello + Hammerklavier), and a lost septet. Wohlfarth considers the works historically, and analyzes several in more detail to discover to what extent they fit into Baroque or newer Italian practices. He finds that the chamber music parallels the development of the symphony. He says that it is important to remember for which type of keyboard the chamber music is written, so that the modern pianist can balance better with the other players. Johann Sebastian Bach 1685–1750 For a catalogue of Bach’s chamber music ( = sonatas) see Wolfgang Schmieder, Thematisch-Systematisches Verzeichnis der musikalischen Werke

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von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV) (Wiesbaden: Breitkopf & Härtel, 1950; 3rd printing, 1966), pages 559–79. ML 134. B1S1.1966. For a bibliography of writings about Bach’s chamber music see Christoph Wolff, Bach-Bibliographie: Nachdruck der Verzeichnisse des Schriftums über Johann Sebastian Bach (Bach-Jahrbuch 1905–1954), mit einem Supplement und Register (Kassel: Merseburger, 1985), pages 462–64. ML 134.B1W64.1985. ISBN 3-87537-197-6. For questions on the interpretation of Bach’s chamber music, see 2480. 796. Vogt, Hans. Johann Sebastian Bach’s Chamber Music: Background, Analyses, Individual Works, trl. Kenn Johnson. Portland (OR): Amadeus, 1988. Original German version: Stuttgart: Reclam, 1981. ML410.B13V813.1988. ISBN 0-931340-04-7. 262 pages. A basic introduction to the repertory of Bach chamber music (Vogt includes unaccompanied solo works) and the basic issues of performance and source readings. This book, however, is designed as much for the non-scholar as for the scholar. Individual pieces are analyzed, and generalities are made cautiously about Bach’s themes, counterpoint, and other compositional aspects. 797. Doflein, Erich. “Joh. Seb. Bach in der Haus-und Kammermusik,” in Hausmusik, xiv (1950), 1–8, 29–34, and 63–72. Doflein notes that except for some keyboard works, Bach wrote for accomplished performers; he did have music in his home for his family, but they were trained well. Today’s Hausmusikanten should always go to Urtext editions; and available editions in 1950 are evaluated. Doflein considers Bach’s keyboard music and chamber music for violin, viola, cello, viola da gamba, flute, recorder, voice, and larger ensembles. 798. Wolff, Christoph. Bach: Esays on His Life and Music. Cambridge (MA): Harvard University Press, 1991. ISBN 0-674-05925-5. ML410.B1W79.1991. xiv + 461 pages. In Chapter 17, Wolff discusses the dating of Bach’s instrumental works, many of which may be datable after Bach arrived in Leipzig and were not composed in Cöthen. They were largely written for the Collegium Musicum in Leipzig of which Bach was director from 1729. Wolff speculates on the chamber music that Bach must have composed throughout his career and which is lost. In Chapter 18, he considers the performance of Bach’s The Musical Offering, which in most cases should be by a small chamber ensemble. 799. Kirchner, Gerhard. “Der Generalbaß in der Kammermusik Johann Sebastian Bachs.” Concerto, xix (May 2002), 14–15.

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See Rudolf Pecman’s “Johann Sebastian Bach und der Stil der italienischen Triosonate,” in 675, pages 337–43. 800. Eppstein, Hans. Studien über J.S. Bachs Sonaten für ein Melodieinstrument und obligates Cembalo, in Acta Universitatis Upsaliensis, Studia Musicologica Upsaliensia, Nova Series 2. Uppsala: Universität/ Stockholm: Almqvist u. Wiksells, 1966. MT 145.B14E65. 199 pages. 44 musical examples. Publication of PhD dissertation, Uppsala. A detailed, specialized study of the Bach sonatas designed primarily for musicologists. It is largely concerned with proving several speculations about the origins of the sonatas and their melodicrhythmic structure. Eppstein considers the authenticity of these sonatas, their various versions, the interrelationship of the 2 instruments, the historical position of Bach’s sonatas, and the structure of each of the sonatas. He concentrates on the authenticated sonatas and leaves the others for a final chapter. He has doubts whether Bach really knew any French sonatas with obligato keyboard; the idea was in the air. He also challenges the term “trio” for these pieces as they stand (treble + obligato keyboard), though recognizes the relationship of many other composers’ trio sonatas to their similarly scored obligato keyboard + treble transcriptions. Bach conceived the 3-line sonata movements (most of them are 3-line) as 3 lines; there is no continuo possible, no 2 trebles + continuo, with its then resulting improvised additions of a fourth or fourth and fifth parts. The klavier is complete with 2 lines of music. The klavier has 2 functions here: to present the 2 remaining lines of a 3-voice work and to be an opposing player to the melody instrument. Eppstein draws attention to the Stimmtausch (exchange) of the 3 parts, even when 2 of them are accompaniments to the third. The violin is almost always higher than the right hand of the keyboard. Eppstein considers the relationship of the instruments and their functions, and analyzes the sonatas in detail. He considers the gamba sonata in G and its trio version BWV 1039; both are based on another, now lost, trio version but he denies that this could have been the case with the 6 violin + obligato keyboard sonatas BWV 1014–19. 801. Eppstein, Hans. “Zur Problematik von J.S. Bachs Sonata für Violine und Cembalo G-Dur (BWV 1019),” in Archiv für Musikwissenschaft, xxi (1964), 217–42. In trying to identify, authenticate, and describe Bach’s sonatas for solo instrument and keyboard, Eppstein takes 1 authentic work—the sonata BWV 1019—as a point of study of basic Bach stylistic traits in sonatas. It is a scholarly approach. He compares 7 sources of this

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sonata, which are quite different. He considers chronology and assumes Cöthen as the location and time (1717–23) for the composition (see Marshall 809). 802. Eppstein, Hans. “J.S. Bach’s Triosonate G-dur (BWV 1039) und ihre Beziehungen zur Sonate für Gambe und Cembalo G-dur (BWV 1027),” in Die Musikforschung, xviii (1965), 126–37. Eppstein considers the questions: Is the trio sonata (violin + flute + continuo) or the solo sonata earlier (the 2 sonatas are the same except for scoring and numerous details upon which Eppstein bases his case, and the solo sonata survives in an authentic Bach-written manuscript) and, if the trio sonata is later, is it authentic? On the basis of a comparison of melodic lines as characteristic of 1 instrument or another, he answers the first question: solo gamba sonata comes first. He answers the second question: the trio sonata is authentic. Eppstein refutes Ulrich Siegele, “Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs” (PhD dissertation. University of Tübingen, 1957). See also Dürr in 803–804, who adds to Eppstein’s work. 803. Dürr, Alfred. “Zu Hans Eppsteins ‘Studien über J.S. Bachs Sonaten für ein Melodieninstrument und obligates Cembalo,’” in Die Musikforschung, xxi (1968), 332–40. Considers many of Eppstein’s points and finds room for further discussion without refuting those points. He questions the nature of ur-versions of gamba sonatas, all of which are transcriptions. 804. Dürr, Alfred. “Zu Hans Eppsteins Erwiderung,” in Die Musikforschung, xxii (1969), 209. Dürr believes that Eppstein has not proved that the trio sonatas come from the cembalo sonatas and the latter from some lost ur-sonata. 805. Mackerness, E.D. “Bach’s F Major Violin Sonata,” in The Music Review, xi (1950), 175–9. A comparison of this sonata with its model, Bach’s earlier Trio Sonata in G for flute + violin + continuo, and how the 3-instrument original is reduced to 2 instruments (actually the cembalo of the violin sonata is obligato so the number of voices remains the same). 806. Blume, Friedrich. “Eine unbekannte Violinsonate von J.S. Bach,” in Bach Jahrbuch, xxv (1928), 96–118. A detailed study of the manuscript source, the handwriting and the music of Bach’s BWV 1021 Sonata for Violin + Continuo in G

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major, which shows many similarities to the trio for flute + violin + continuo in G. Blume dates it uncertainly c.1720 or 1727. He includes a facsimile of 1 page of the manuscript. 807. Dreyfus, Laurence. “J.S. Bach and the Status of Genre: Problems of Style in the G-Minor Sonata, BWV 1029,” in The Journal of Musicology, v, (1987), 55–78. Dreyfuss discusses the first movement of this sonata for viola da gamba and cembalo as “what Johann Adolph Scheibe called the Sonate auf Concerteart – a sonata in the concerted manner” (the concerto’s concertino and tutti adjusted to the sonata). 808. Kuijken, B. “J. S. Bach – Sonate voor Fluit en Klavecimbel in b, BWV 1030.” Fluit, viii (March 2000), 7–9+. Includes a study of sources and makes conjectures about transposed parts. 809. Marshall, Robert L. “J.S. Bach’s Compositions for Solo Flute: a Reconsideration of their Authenticity and Chronology,” in Journal of the American Musicological Society, xxxii (1979), 463–98. Only 5 flute solo works appear in the Neue-Ausgabe. Marshall considers 3 additional sonatas that others (Dürr and Eppstein) have eliminated as not being by J.S. Bach and decides they are indeed at least partially by J.S. Bach. Then he turns around to challenge the authenticity and dating of the 5 other sonatas and, along the way, the long-accepted myth that Bach composed most of his keyboard and chamber works in Cöthen. All are allowed some degree of authenticity, but the conjectures as to their origins (arrangements of other works, dates of composition, etc.) are scrutinized. 810. Harper, Patricia. “Bach’s Chamber Music for Flute: an Expressive Breakthrough.” The Flutist Quarterly, xxvii (Fall 2001), 32–49. A brief survey of Bach’s flute music including specifically chamber music. Harper, a flutist, shows how Bach changes his flute-writing technique as he ages, so that while the earliest pieces written in Cöthen are violinistic, the later ones in Leipzig and especially in The Musical Offering are more idiomatic. She considers the instrument itself, the flutists whom Bach knew, the places where he wrote his flute works, and his flute-writing in the cantatas. 811. Addington, Christopher. “The Bach Flute,” in The Musical Quarterly, lxxi (1985), 264–80. An expert on baroque flutes analyzes the Bach sonatas from the standpoint of the kind of instrument for which he wrote.

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812. Nitschke, Wolfgang. “Zu Johann Sebastian Bachs Flötensonate in h-Moll: Versuch einer Analyse des ersten Satzes,” in Heinrich Poos, ed. Festschrift Ernst Pepping zu seinem 70. Geburtstag am 12. September 1971 (Berlin: Verlag Merseburger, 1971), 240–6. ML 55. P47F5. ISBN 3-87537-003-1. Nitschke is concerned with the sonata for flute and obligato harpsichord in B minor (BWV 1030), which is apparently an arrangement (in Leipzig) of an earlier Sonata in G minor for flute + continuo (in Cöthen), based on research of Hans-Peter Schmitz, Kritischer Bericht to Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke, Series VI, Band 3, Werke für Flöte (Kassel: Bärenreiter, 1963), page 32. Nitschke analyzes the first movement, andante, the longest and most complicated first movement in any Bach sonata, to show its basic da capo form and its suggestions of contrasting themes as in sonata form (albeit here both are in the same key). The movement is divided into 3 sections that are subdivided into periods and motives, with the tonal centers outlined. The third section is a development of the first section, not simply an ornamented recapitulation. 813. Marissen, Michael. “A Critical Reappraisal of J. S. Bach’s A-Major Flute Sonata,” in The Journal of Musicology, vi (1988), 367–86. Discusses some problems that arise from the manuscript sources of the Sonata BWV 1032 and the alternate scoring of the work for recorder, violin, and continuo. Marissen concludes that the original vivace, which is often omitted in modern editions and performances because it seems to be inconsistent with the rest of the sonata, actually helps the modern interpreter “in a critical reading of the piece.” 814. Claypool, Richard D. “J.S. Bach’s Sonatas for Melody Instrument and Cembalo Concertato: an Evaluation of all Related Manuscript Sources.” PhD dissertation. Northwestern University, 1975. UM 76–11878. DA xxxvi.11A, p. 7034. 2 vols. I: v + 183 pages; II: 363 pages. A bibliographic and source analysis of these sonatas, with a collation of discrepancies among the sources. Claypool attempts to date the sources. This study is for the advanced researcher in Bach scholarship. See also Jürgen Eppelsheim, “Funktionen des Tasteninstruments in J.S. Bachs Sonaten mit obligatem Cembalo,” in 213, pages 23–33. Heinrich Joseph Baermannn 1784–1847 815. Rau, Ulrich. “Von Wagner, von Weber? Zwei Kammermusikwerke für Klarinette und Streichinstrumente unter falscher Autorschaft,” in Die Musikforschung, xxix (1976), 170–5.

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Conclusively shows that the adagio for clarinet and string quintet, assumed to be an early work of Wagner’s, is in fact the second movement of a clarinet quintet, Op. 23, by Baermann, and that the introduction, theme and variations for clarinet + string quartet, assumed to be by C.M. von Weber, is in fact a clarinet quintet by Joseph Küffner (1777–1856). Tadeusz Baird 1928–81 816. Jazwinski, Barbara. “Four Compositions by Tadeusz Baird.” PhD dissertation. City University of New York, 1984. UMI 85–1144. DAI xlv.8A, p. 1369. viii + 105 pages. After a brief biography, Jazwinski gives an analysis of 4 atonal pieces: String Quartet No. 1 (1957), Four Essays for Orchestra (1958), Exhortation for Orchestra (1959–60), and Elegeia for Orchestra (1973). She discusses pitch-structure, texture, and form. Adriano Banchieri 1568–1634 817. Kelly, David Terrence. “The Instrumental Ensemble Fantasias of Adriano Banchieri.” PhD (education) dissertation. Florida State University, 1962. UM 62–4615. DA xxiii.5, p. 1732. 300 pages (DA = 310 pages). A biography and a history of the instrumental canzona and Banchieri’s role in it. Of special concern is his Fantasie overo Canzoni Francese per Suonare nell’Organo et Altri Stromenti Musicali, … Quattro Voci (Venice: 1603), which is also given as a performing edition. Samuel Barber 1910–81 For a catalogue of Barber’s chamber music, see Don A. Hennessee, Samuel Barber: A Bio-Bibliography, in Bio-Bibliographies in Music, No. 3 (Westport [CT]/London: Greenwood Press, 1985), 66–74. ML 134.B175H4.1985. ISBN 0-313-24026-4. Béla Bartók 1881–1945 For a general introduction to Bartók’s chamber music, see Mosco Carner’s essay in Alec Robertson, ed. Chamber Music 212. Another general introduction is:

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818. Walsh, Stephen. Bartók Chamber Music, in BBC Music Guides. London: BBC, 1982. MT 145.B25W34.1982. ISBN 0-563-12465-2. 88 pages, 25 musical examples. Designed for the student and informed layperson, the best nontechnical exposé of chamber music in English. It presents its subject in light of Bartók’s career, thoughts, outside influences (other composers and folk music), and total oeuvre. Walsh traces Bartók’s early development from late Romantic to his own style based on Hungarian folk music; shows events leading up to the composition of each important chamber work and discusses the principal rhythmic, thematic and harmonic elements of each movement. Walsh continually tries to understand what motivated Bartók aesthetically to do what he did and to find overall consistencies and compositional principles that can explain the music. This study is not to be read for information on a single piece but for the total picture. 819. Kárpáti, János. Bartók’s Chamber Music. Stuyvesant (NY): Pendragon Press, 1994. ISBN 0-945193-19-X. ML410.B26K413.1994. viii + 508 pages. Trl. by Fred Macnicol and Mária Steiner of Bártók Kamarazenéje. Budapest: Zenemükiadó, 1976. Enlarged version of Bartók’s String Quartets. Corvina Press, 1975. The most detailed and thorough study of Bartók’s chamber music. The book is divided into 2 parts: Part I: Musical Idiom and Style (6 chapters) and Part II: Analyses (10 chapters). Part I is unchanged from the 1975 publication, and Part II adds to the 1975 version analyses of Bartók’s 2 sonatas for violin and piano, the Sonata for Two Pianos and Percussion, and The Contrasts. After giving details on the history of a work and its earliest performances, Kárpáti describes each movement at length; he considers not only the melodic, tonal, and rhythmic structure of each phrase and the rhythm and form of the whole piece, but also how each movement and its parts relate to Bartók’s other music, to the music of Beethoven and Bach, and to folk music. Although the reader often is aware that the author speaks through translation (ideas are not always expressed succinctly), the meaning of the text is always clear. 820. Haraszti, Émile. “La Musique de Chambre de Béla Bartók,” in La Revue Musicale, xi.2, No. 107 (1930), 114–25. Bartók’s works evince all the problems facing contemporary music: exaltation of Russian dynamism, objectivism of the geometric French, and atonal and polytonal polyphony of the horizontal Germans. Haraszti contrasts Stravinsky—cosmopolitan dweller—with the peasant Bartók. Both have developed from nationalism to individualism,

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from general to abstract. He divides Bartók’s music into 3 periods: his stress on nationalism in the first period (piano quintet and String Quartet No. 1), the return to classicism in the second period (2 sonatas for violin + piano, String Quartet No. 2), and maturity in the third period (string quartets Nos. 3 and 4). 821. Stevens, Halsey. “The Chamber Music,” in The Life and Music of Bela Bartok (New York: Oxford University Press, 1953), 170–226. ML 410.B26S8. rev. ed. 1964. An analysis of Bartók’s chamber music, with the first 33 pages devoted to the 6 quartets. After general remarks, Stevens considers each of the quartets in turn, stressing Bartók’s symmetry of form, motivic development, and in a general way the tonalities. Less attention is given to the folk elements, harmony, and coloristic effects, and only passing attention to rhythm. The remaining 23 pages concentrate on the violin + piano sonatas; the duos for 2 violins; sonata for 2 pianos + percussion; contrasts, and the solo violin sonata. Stevens gives historical data and then concentrates on form, with other aspects more lightly touched upon (if at all). This is a good general introduction to the chamber music in English, even if some aspects are short-changed and some other aspects (tonality, harmony) might be too technical for the beginner. 822. Seiber, Mátyás. “Béla Bartók’s Chamber Music,” in Tempo, No. 13 (Autumn, 1949), 19–31. Reprinted in Béla Bartók: A Memorial Review of his Life and Works (New York: Boosey and Hawkes, 1950), pages 23–35. A history of Bartók’s chamber music that tries to show a continuous evolution from his student works in 1898 to the sonata for solo violin (1944). Important works are briefly but cogently analyzed. This is a good introduction for the student. 823. Gillies, Malcolm, ed. “Chamber Music.” The Bartók Companion (London: Faber and Faber Ltd., 1993, ISBN 0571153305), 215–345. A collection of 9 essays of which 8 deal with chamber music: “Youthful Chamber Works” (Günter Weiss-Aigner); “Early String Quartets” (János Kárpáti); “Violin Sonatas” (Paul Wilson); “MiddlePeriod String Quartets” (Elliott Antokoletz; there is a Spanish translation “Los cuartetos de cuerda de Bartók del periodo medio,” trl. by Héctor J. Sánchez, in Quodlibet Revista de Especializacion Musical, xxxi [February 2005], pages 86–103); “Violin Rhapsodies” (Vera Lampert); “Violin Duos and Late String Quartets” (Gillies); “Masterworks (II): Sonata for Two Pianos and Percussion” (Roy Howart); and “Final Chamber Works” (Gillies).

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824. Suchoff, Benjamin. Béla Bartók: A Celebration. Lanham (MD)/ Oxford: Scarecrow Press, 2004. ISBN: 0810849585. xiv + 269 pages. A collection of brief writings by Bartók and by Suchoff that appeared elsewhere initially. Some of the articles in the first half of the book concern specific pieces of Bartók’s chamber music: violin and piano sonata No. 2, the second and sixth string quartets, and the first rhapsody for violin and piano. Other articles deal with various aspects of Bartók’s ethnomusicological work and principles of composition. This is a companion study to Suchoff ’s Life and Works of Bartók (2001). Suchoff was the director of the New York Bartók Archive from 1967 to 1982. 825. Seiber, Mátyás. Die Streichquartette von Béla Bartók. 1945. The String Quartets of Béla Bartók, trl. K.W. Bartlett. London/New York: Boosey & Hawkes, 1954. MT 145.B25S4. 22 pages, 72 musical examples. A general introduction to the quartets for the layperson who reads music: not technical, not scholarly. Seiber gives a running description of thematic and other events, with the principal themes. 826. Abraham, Gerald. “The Bartók of the Quartets,” in Music and Letters, xxvi (1945), 185–94. After proving that Bartók’s 6 quartets are the most important set since Beethoven’s, Abraham offers an analysis of each quartet in succession commenting on motives, tonalities and harmonies, folk tunes, color effects, and form. 827. Kárpáti, János. Bartók’s String Quartets, trl. Fred Macnicol. Budapest: Corvina Press, 1975. MT 145.B25K43. ISBN 963-13-3655-7. 279 pages, 254 musical examples. Original Bartók Vonósnégyesei. Budapest: Zenemúkiadó, 1967. The most important study of Bartók’s quartets. The first half of the book deals with general elements in Bartók’s style and the quartet from Beethoven to Bartók; the second half is an extremely detailed analysis of each movement of the 6 quartets, with several pages of historical data on each one. This is a treasure house of information on these pieces and should be basic to any research on them. There is an extremely useful bibliography, good documentation, and caution is exerted when called for. The analyses are concerned with motives, tonalities, harmonies, form and only slightly with new color effects. Kárpáti considers folk music influence and monothematicism, chromaticism, polytonality, scordatura, pentatonicism, quartal harmonies, and much more. Bartók’s harmonic system is a flexible compromise between the tonality of neo-classicism and the atonality

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of Schoenberg; Kárpáti refutes rigid theoretical systems in analyzing the quartets. Bartók is not nationalistic but internationalistic since he did not limit himself to one folk music tradition. 828. Siegmund-Schultze, Walther. “Tradition und Neuerertum in Bartóks Streichquartetten,” in Studia Musicologica, iii (1962), 317–28. This volume also bears the title Zoltano Kodály Octogenario Sacrum (Budapest: Akadémiai Kiadó, 1962). An extremely important essay in placing Bartók’s quartets in a social and aesthetic context. It is well written for anyone who already has a working knowledge of the 6 quartets. There are no musical illustrations. The essay seeks to answer the question as to how much is in the classical tradition and how much is new in Bartók’s quartets. The author contrasts the social goals of Beethoven and Bartók (Beethoven lives at the height of bourgeois humanism, Bartók at its destruction). At the turn of the century, the classical tradition was going nowhere in Germany and Austria; it took the nationalists Smetana, Borodin, Debussy, Ravel, and Roussel, drawing on their own folk music, to point to a new direction for the string quartet, and Bartók takes off from there. Siegmund-Schultze considers the basic elements of each quartet, with Beethoven often serving as the only model. The last 2 quartets are a positive awareness of life, progress, the victory of humanity despite the antihumanistic dangers of his time (1934 and 1939)—themes already conceived by Beethoven. Despite the tragedy and melancholy, Bartók demonstrates an inner indomitable spirit—a Classical idea. The study concludes with the observation that bridge form applies to the 6 quartets as a whole: 1 and 6, 2 and 5, and 3 and 4 are similar in character. See 836 for a similar treatment. For a study of the organic unity in Bartók’s quartets, see Werner Pütz, Studien zum Streichquartettschaffen bei Hindemith, Bartók, Schönberg und Webern 1607. 829. Babbitt, Milton. “The String Quartets of Bartók,” in The Musical Quarterly, xxxv (1949), 377–85. The 6 quartets are recognized as a unity, “a single conceptual attitude,” which reveals “a thorough awareness of the crucial problems confronting contemporary musical composition.” The author points out thematic elements that generate polyphony and harmony and unify the movements. 830. Perle, George. “Symmetrical Formations in the String Quartets of Béla Bartók,” in The Music Review, xvi (1955), 300–312.

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Points to the use of symmetrical scales in Debussy and the Russian nationalists. Then Perle analyzes Bartók’s use of symmetrical formations not as textural devices but as important functions of the total structures. A symmetrical formation can be a particular scale ascending in an instrument simultaneously with its descent in another, the scale itself frequently having symmetrical properties. This is an important analysis for anyone who wishes to comprehend the structure of the Bartók quartets. 831. Walker, Mark Fesler. “Thematic, Formal and Tonal Structure of the Bartók String Quartets.” PhD dissertation. Indiana University, 1955. UM 55–1694. DA xv.12, p. 2543. 387 pages. Walker attempts to define Bartók’s thematic material, to determine the formal plans at all levels, and to explain tonal organization of the 6 string quartets. He describes and analyzes the quartets, giving a separate chapter to each one. 832. Traimer, Roswitha. Béla Bartóks Kompositionstechnik dargestellt an seinen sechs Streichquartetten. Regensburg: Gustav Bosse Verlag, 1956. ML 410.B26T7. vi + 91 pages, 198 musical examples. PhD dissertation. University of Munich, 1953. A scholarly attempt to uncover a musical system in the works of Bartók by studying the music itself rather than imposing a system on the music. The quartets are a convenient and representative genre since they cover all his life and, with 4 equal instruments, depend on the structure rather than bravura. Even folk music elements are better represented in the quartets than in any other works as an integrated part of his compositional style. Bartók’s system involves motives; his peculiar harmonies and forms derive from motives. These in turn are based on his studies of and empathy for Hungarian and similar folk music. 833. Rathert, Wolfgang. “Zur geschichtlichen Stellung der Streichquartette Béla Bartóks in der Musik des 20. Jahrhunderts.” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed. in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 25–39. Traces Bartók’s influence on the quartets of his contemporaries and successors and at the same time shows how his quartets are rooted in the music of the past (Beethoven but also Debussy and Ravel). 834. Somfai, László. “Perfect Notation in Historical Context: The Case of Bartók’s String Quartets.” Studia Musicologica, xlvii, Nos. 3–4 (September 2006), 293–309. Online.

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Somfai is the editor of the string quartets in the complete edition of the works of Bartók and here points out the difficulties in interpreting the various versions of the quartets. Based on sketches, printed editions, recordings, comments by the composer in letters and other sources, and various corrections that Bartók himself made to all of these, Somfai points out some of the mistakes that scholars and performers have made in interpreting Bartók’s notation and intentions. Both scholars and performers working with the quartets should read this as a precaution against taking for granted that editions of the quartets are accurate. Special attention is given to the first quartet and to the recordings of all 6 of them from 1925 to 1998. 835. Fladt, Hartmut. Zur Problematik traditioneller Formtypen in der Musik des frühen zwanzigsten Jahrhunderts, dargestellt an Sonatensätzen in den Streichquartetten Béla Bartóks, in Berliner musikwissenschaftliche Arbeiten, Band 6. Munich: Musikverlag Emil Katzbichler, 1974. ML 448.F87. ISBN 3-87397-036-8. 182 pages. An intense treatise on sonata form primarily for scholars, in which the ideas of Adorno and Dahlhaus are adapted. Then we have the application of this treatise to string quartets and specifically Bartók’s. Beethoven by Op. 59 established sonata form in all movements, but a flexible sonata form that had different solutions in each use. This flexible sonata form, posing ever new problems, was inherited by Brahms, Schoenberg, and Bartók; therefore, analysis of their works must assume a basic sonata form idea that they confronted, rather than the creation of a whole new form. Fladt considers Brahms’s C minor String Quartet as basic for Bartók’s starting point, and then the folk element (emphasizes Bartók’s anti-bourgeois sentiments), which is basic to all elements of the music. He always links political history to the shape of Bartók’s works; this is especially evident in the 1930s when, as Bartók despaired because of fascism, he aimed at more communicability, new simplicity, classicism, and clarity—thematic arches rather than motives, and more unaltered, sentimental uses of 19th-century Hungarian popular themes to symbolize the political crisis. For a similar idea see 828. 836. Spinosa, Frank. “Beethoven and Bartók: A Comparative Study of Motivic Techniques in the Later Beethoven Quartets and the Six String Quartets of Béla Bartók.” DMA dissertation. University of Illinois, 1969. RILM 69–3843. UMI 70–13499. DAI xxx.2A, p. 791. 214 pages. Starts with a survey of string quartets written after Beethoven and before Bartók, in which Beethoven’s use of dramatic motives is abandoned in favor of extended lyric expression and orchestral string sonorities. Bartók, on the other hand, followed Beethoven’s idea of

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motivic development. Spinosa analyzes in detail Beethoven’s Opp. 95 – 135, as well as Bartók’s 6 quartets, according to motivic aspects and finds many parallels in their compositional approaches. 837. Thomason, Leta Nelle. “Structural Significance of the Motive in the String Quartets of Béla Bartók.” PhD dissertation. Michigan State University, 1965. UM 66–6876. DA xxvii.3A, 793–94. 395 pages. Sets out to prove “that the content of the melodic motives manifests itself in other elements of the quartets so that it becomes the most important factor.” This is a detailed theoretic discussion of the motives. 838. Rands, Bernard. “The Use of Canon in Bartók’s Quartets,” in The Music Review, xviii (1957), 183–8. Points to the prominent position of canon and strettos in the quartets. 839. Morrison, Charles Douglas. “Interactions of Conventional and Nonconventional Tonal Determinants in the String Quartets of Bela Bartok.” PhD dissertation. University of British Columbia, 1987. DAI Vol. 49 (November 1988), p. 993A-4A. Uses Schenkerian techniques to study the tonal and nonconventional tonal aspects of the 6 string quartets. Chapter IV concentrates on an analysis of the final movement of the sixth quartet. 840. Morrison, Charles Douglas. “Fifth Progressions in Bartok: Structural Determinants or Mimicry?” in Studia Musicologica, Vol. xxxiv (1992), p. 125+. This work includes the string quartets. 841. Locke, Derek. “Numerical Aspects of Bartok’s String Quartets,” in The Musical Times, Vol. cxxviii (June 1987), 322–5. 842. Gow, David. “Tonality and Structure in Bartók’s First Two String Quartets,” in The Music Review, xxxiv (1973), 259–71. A detailed analysis of these quartets based on a consideration of harmony and assuming they still have vestiges of tonality. 843. Wellesz, Egon. “Die Streichquartette von Béla Bartók,” in Musikblätter des Anbruch, iii (1921), 98–100. Recognition of Bartók’s quartets as evolving from the contents, not from pre-conceived forms. It was a time when many were seeking a new expressive language by returning to the string quartet, and Bartók was among the best. Wellesz gives a brief analysis of the first 2 quartets, but without musical illustrations. See also 232.

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844. Karpati, Janos. “A Typical Jugendstil Composition: Bartok’s String Quartet No. 1,” in The Hungarian Quarterly, Vol. xxxvi (Spring 1995), 130–40. 845. Vikárius, László. “The Expression of National and Personal Identity in Bela Bartók’s Music.” Dansk Arbog for Musikforskning, xxxii (2005), 43–64. Traces Hungarian characteristics in a melody type that appears in the First String Quartet and can be found in Bartók’s last compositions as well. 846. Fladt, Hartmut. “Budapest – zwischen Wien und Paris? zu Bartóks I. und II. Streichquartett.” Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds. in Beiträge der Österreichischen Gesellschaft für Musik, Band 12 (Vienna: Doblinger, 2006, ISBN: 3900695814), 16–25. An analysis of the first 2 quartets in light of the contemporary works by Debussy and Schonberg and in the tradition of Beethoven. 847. Whittall, Arnold. “Bartók’s Second String Quartet,” in The Music Review, xxxii (1971), 265–70. Analysis of the quartet in harmonic terms: since the piece is neither tonal nor 12-tone, another harmonic criterion has to be found – either perfect fourths and tritones or major and minor thirds, where the second in each case (or tritone or minor third) acts as a tonic. 848. Breuer, János. “Die erste Bartók-Schallplatte: das ii. Streichquartett op. 17 in der Einspielung des Amar-Hindemith-Quartetts,” in HindemithJahrbuch, v (1976), 123–45. Account of a recording made on Deutsche Grammaphon Gesellschaft in 1925 of Bartók’s Second String Quartet performed by Hindemith’s quartet—the first recording ever made of a piece by Bartók. Breuer reviews the close relationship of the 2 composers, gives information on the Amar-Hindemith Quartet—who, when, where—and details on the particular recording at hand. He reviews the piece as played. 849. Pung, Andres. “Motivic Development and Transformation in Bartok’s String Quartet No. 2, First Movement.” A Composition as a Problem, Vol. iii: Proceedings of the 3rd International Conference on Music Theory, Tallinn, March 9–10, 2001, Mart Humal, ed. iii, (Tallinn: Scripta Musicalia, Estonian Academy of Music, 2003, ISBN 9985-78-970-9), 148–57.

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Bartók builds his movements by developing and transforming motives rather than themes. This method, which is similar to baroque techniques rather than classical ones, was inspired by his work with folk music. Pung demonstrates 3 ways by which Bartók develops and transforms motives in the first movement of the Second String Quartet. 850. Kartman, Myron Herbert. “Analysis and Performance Problems in the Second, Fourth and Sixth String Quartets by Bela Bartok.” MAD dissertation. Boston Univeristy, 1970. UMI 71–13418. DAI xxxii.3A, p. 1552. 253 pages. 851. Berry, Wallace. “Symmetrical Interval Sets and Derivative Pitch Materials in Bartók’s String Quartet No. 3,” in Perspectives of New Music, xviii (1979–80), 287–379. Gives a highly technical analysis of the pitch organization in this quartet. Berry finds the fundamental hexachord d up to b with interval patterns 2-2-2-2 and its various implied tetrachords 2-2-1, 1-2-2, 2-1-2, and 2–3 or 3–2 as the basis for the melodic and harmonic materials of the quartet. 852. Brown, Julie. Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction in Music. Aldershot/Burlington: Ashgate, 2007. ISBN: 9780754657774. ix + 182 pages. After defining “grotesque” in general and in several works of Bartók, Brown describes what this means in particular in the Third String Quartet (Chapter 4). The grotesque can arrive from various contrasts that startle: unusual timbres versus the standard string quartet bowed sound, comic versus repulsive, melody versus accompaniment, art versus folk music, Schoenberg versus Stravinsky, traditional coherent forms versus rhapsody, and dance rhythms versus non-dance rhythms. The canon and fugato in Section 2 of the quartet evince several such contrasts. Interestingly, Liszt is a major inspiration for Bartók in exploring the grotesque. 853. Wilson, Paul Frederick. The Music of Béla Bartók. New Haven: Yale University Press, 1992. ISBN 0-300-05111-5. ML410.B26W5.1992. ix +222 pages. Studies the Third String Quartet and part of the Fifth String Quartet. See the severe review and alternate (Schenkerian) analysis of the second movement of the Fifth String Quartet by Michael Russ, “Functions, Scales, Abstract Systems and Contextual Hierarchies in the Music of Bartók,” in Music and Letters, lxxv (1994), 401–25. 854. Monelle, Raymond. “Bartók’s Imagination in the Later Quartets,” in The Music Review, xxxi (1970), 70–81.

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Bartók contrasts traditional, classical gestures with radical and astringent music. He treats Quartets Nos. 3–6 from this contrast of simple (often folk) and familiar with the revolutionary sound of polymodality and serialism. 855. Forte, Allen. “Bela Bartok: Fourth String Quartet (I) 1928,” in Contemporary Tone Structures (New York: Columbia University Teachers College, 1955), 139–43, 193–4 (charts). ML 197.F7. A Schenkerian analysis of the first movement of this piece. Forte gives a very succinct approach to the overall tonal tendencies of the movement without further discussion of the other structural aspects found there. The work has 4 primary tones—C, E, G, F#—and the “general structural concept” is the adjacent tone postulate; in short, Bartók uses seconds. This analysis is an example of Forte’s approach to analysis as presented in detail in the earlier part of the book. 856. Forte, Allen. “Bartók’s ‘Serial’ Composition,” in The Musical Quarterly, xlvi (1960), 233–45. A highly technical analysis of the third movement of Bartók’s Fourth String Quartet in which he experiments with serial devices without sacrificing his own character. He uses complementation— “the basis of trichordal and hexachordal combination within each section and of progression from section to section.” In addition, Bartók follows through on the system at the level of melodic detail. 857. Antokoletz, Elliott Maxim. “Principles of Pitch Organization in Bartók’s Fourth String Quartet.” PhD dissertation. City University of New York, 1975. UM 75–21334. DAI xxxvi.4A, p. 1885. xii + 152 pages. Based on George Perle’s theories, a highly technical analysis of the quartet. It starts by subdividing the octave into the total complex of interval cycles, and then selecting tetrachordal segments from each of these cycles; the quartet uses 2 of these 4-note cycles in a significant way. Antokoletz also considers rhythm, which grows from 2 elementary rhythmic cells and which reveals various mathematical patterns. This study is for the advanced music theorist. 858. Weiss, Stefan. “Erkennen helfen, was est ist: Analyse Neuer Musik und ihre Anlasse.” Musiktheorie, xix (2004), 297–304. Despite Arnold Schoenberg’s verdict on analyses, which only demonstrate “how it is made”, the search for the structural foundations of a composition remains a legitimate ground for analysis. The questions “where it gets its particular effect” and “how it should be played”

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are 2 further motives. Analyses of short passages from Pierre Boulez’s “Domaines” for clarinet and 6 instrumental groups, Pawel Szymanski’s “Two studies” for piano, and Bela Bartók’s Fourth String Quartet illustrate these 3 reasons for analysis. For another discussion of the Fourth String Quartet see also Michael Coonrod’s dissertation 742. 859. Olson, Terran. “Bulgarian Meter, Rhythmic Development, & Bartók’s 4th String Quartet.” MA thesis. Mills College, 2005. 25 leaves 860. Mason, Colin. “An Essay in Analysis: Tonality, Symmetry and Latent Serialism in Bartók’s Fourth Quartet,” in The Music Review, xviii (1957), 189–201. A detailed, thorough examination of tonality and motivic structure in the fourth quartet. 861. Monelle, Raymond. “Notes on Bartók’s Fourth Quartet,” in The Music Review, xxix (1968), 123–9. A challenge to those who would consider this quartet in traditional forms; at most, sonata form and scherzo form are treated as parodies. An imaginary Hungarian folk song that is present in the finale is also present in the earlier movements as a germ motive. 862. Bayley, Amanda. “Bartók’s String Quartet No. 4/III: A New Interpretative Approach,” in Music Analysis, Vol. xix (October 2000), 353–82. 863. Morrison, Charles Douglas. “Prolongation in the Final Movement of Bartok’s String Quartet No. 4,” in Music Theory Spectrum, Vol. xiii (1991), 182–3. 864. Beach, Marcia Francesca. “Bartok’s Fifth String Quartet: Studies in Genesis and Structure.” PhD dissertation. University of Rochester, Eastman School of Music, 1998. 334 pages. DAI Vol. xlix (Mar 1989), p. 2440A. Study of the manuscript sources and final print and what they reveal about Bartók’s compositional processes. 865. Antokoletz, Elliot. “A Discrepancy between Editions of Béla Bartók’s Fifth String Quartet Resolved by a Comparative Study of Primary Sources and Analysis.” For the Love of Music: Festschrift in Honor of Theodore Front on his 90th Birthday, Darwin Floyd Scott, ed. (Lucca: LIM Antiqua, 2002, ISBN 8888326014) 165–85. A lengthy and informative discussion of 1 note in the viola in measure 825 in the fifth movement of Bartók’s Fifth String Quartet. In

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preparing the new critical edition of Bartók’s works, editors have had to review all the manuscripts and editions and decide, based on these sources and on the musical intentions of Bartók, that the correct note in the viola is an F natural against an F sharp in the violins. This demonstrates the care with which the editors are working in preparing this definitive edition. 866. Chapman, Roger E. “The Fifth Quartet of Béla Bartók,” in The Music Review, xii (1951), 296–303. A formal analysis that points to the “arch” structure of the whole. This study is not too detailed in terms of thematic and rhythmic structure. 867. Jemnitz, Alexander. “Béla Bartók: V. Streichquartett,” in Musica Viva, i (April, 1936), 19–33. A sizeable review of the Fifth Quartet in German, with summaries in English, French, and Italian. Jemnitz considers the difference between “being” and “becoming.” In a static aesthetic, “being” is the accepted state; therefore, sonata form, with its exact or nearly exact repetition of the exposition in the recapitulation, is perfectly acceptable. But since Beethoven, evolution or drama is more important—objects are always growing, evolving, “becoming”—and recapitulations are no longer acceptable. Bartók’s Fifth String Quartet is a synthesis of these 2 concepts. The piece is not only a cyclic sonata but a continual evolution. The first movement has an exposition that continually grows—the first theme evolves into the second, and likewise in the recapitulation the second theme comes first—a continual evolution that doesn’t stop here but goes on in subsequent movements. For consideration of Bartók’s Quartet No. 2, movement 1, and Quartet No. 5, movement 1, see Robert Donahue’s “A Comparative Analysis of Phrase Structure in Selected Movements of the String Quartets of Bela Bartók and Walter Piston” 1994. For important information on how to play the Fifth String Quartet, see Gertler 2588. 868. Wilson, Paul Frederick. “Function and Pitch Hierarchy in Movement II of Bartok’s Fifth Quartet,” in Theory and Practice, Vols. xiv–xv (1989–90), 179–86. 869. Vinton, John. “New Light on Bartók’s Sixth Quartet,” in The Music Review, xxv (1964), 224–38. One of many articles on this quartet by important theorists and musicologists, this is based on documentation that is newly available. It is a detailed analysis of rhythm and motives. It includes plates of 2

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pages of Bartók’s manuscript, described and discussed, which show that some material was an afterthought, but an extremely important unifying factor in the whole quartet. 870. Suchoff, Benjamin. “Structure and Concept in Bartók’s Sixth Quartet,” in Tempo, No. 83 (Winter, 1967–8), 2–11, with 6 facsimiles of Bartók’s manuscript. An analysis of the sketches for the quartet in order to ascertain how the introductory motive developed into the cyclic unifier for the whole piece. Bartók changed his original ideas for this quartet that was written at the outbreak of World War II. 871. Weaver, Robert Lamar. “Bartók’s Sixth String Quartet: A New Interpretation.” Res musicae: Essays in Honor of James W. Pruett, Paul R Laird and Craig H. Russell, eds. (Warren [MI]: Harmonie Park Press, 2001, ISBN 0-89990-107-7), 173–86. In addition to the influences of Bach and Beethoven on Bartók’s quartet, which have been explained by previous scholars, Weaver points out the influence of the viola in Mahler’s Tenth Symphony on the viola part in Bartók’s piece. He also sees the sequence of musical events in the quartet as mirroring the history of musical style from Gregorian chant to tropes to early polyphony through renaissance polyphony to canons and fugues of Bach to Beethoven and Mahler. Rather than being overwhelmed with the pessimism of the late 1930s (Hitler and German barbarism), Bartók sees the power of his place in music history through the sixth quartet. 872. Benary, Peter. “Béla Bartóks und Paul Hindemiths 6. Streichquartett im Vergleich.” Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed. in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 299–303. A brief comparison of 3 quartets by Bartók (No. 6), Hindemith (No. 6), and Schonberg (No. 4), written between 1937 and 1945. Never in history has so much diversity existed in such a narrow space of time. 873. Oramo, Ilkka. “Marcia und Burletta: zur Tradition der Rhapsodie in zwei Quartettsätzen Bartóks,” in Die Musikforschung, xxx (1977), 14–25. Considers the similarity between the 4-note motive in the Marcia of the Sixth Quartet (1939) and in the Verbunkes of Contrasts for violin + clarinet + piano (1938), and the similarity between the motives of the Burletta in the same quartet and Sebes in Contrasts. The author

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assumes these similarities to be intended; thereupon, Oramo analyzes the various movements and concludes that Contrasts was a model for the quartet. 874. Sidoti, Raymond Benjamin. “The Violin Sonatas of Béla Bartók: An Epitome of the Composer’s Development.” DMA dissertation. Ohio State University, 1972. UMI 72–26963. DAI xxxiii.4A, p. 1773. 55 pages. An analysis of 4 violin sonatas, including the early, unnumbered 1903 sonata influenced by Strauss’s Also sprach Zarathustra, and the first and second sonatas (1921 and 1922), which shows Bartók’s own highly developed style with folk music influences. Sidoti also analyzes the unaccompanied sonata (1944), Bartók’s last completed work. 875. Groth, Clause Robert, Jr. “A Study of the Technical and Interpretative Problems Inherent in Bartók’s Violin Sonatas.” DMA dissertation. University of Oregon, 1971. UMI 72–8536. DAI xxxii.9A, p. 5266. 147 pages. Omits the early violin-piano sonata. This study is designed “as a guide for the violinist wishing to study and perform these works.” Groth analyzes 3 sonatas in detail and helps in solving some specific technical and interpretative problems. 876. Hirota, Yoko. “Past and Present Analytical Perspectives on Bartók’s Sonata for Violin and Piano, No. 1 (1922): Intervallic Profiles in the Works of Experimentalism,” in Acta Musicologica, lxix (1997), 109–19. After an exposé of the historical situation for the sonata, Hirota gives a brief, dense analysis of the harmony of the first movement. 877. Szentkirályi, András. “Bartók’s Second Sonata for Violin and Piano (1922).” PhD dissertation. Princeton University, 1976. UMI 76–25120. DAI xxxvii.5A, pp. 2488–89. 236 pages. A highly technical, mathematical analysis of the 2 movements of this sonata. There are 3 basic relationships that govern it: the “axis system” (tonic, dominant, subdominant), the “golden section” (a:b = b:[a+b], with a = 0.618, b = 0.382), and the “principle of duality” (symmetry versus asymmetry, chromatic versus diatonic, macroverus microstructures, and so on, whereby opposites simultaneously complement each another). 878. Frigyesi, Judit Laki. “Bartók’s Non-Classical Narrative: Sonata for Violin and Piano, No. 2 (1922).” International Journal of Musicology, ix (2000), 267–88. An analysis of the sonata based on Bartók’s use of traditional formal gestures while at the same time rejecting them. Thus Bartók

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considered the first movement to be in sonata form, yet the first theme of the exposition, for example, is unstable and anti-classical in its purpose. This leads eventually to a recapitulation in gesture rather than in fact—2 recapitulations that are different from the exposition. This is a new and fascinating way to consider Bartók’s music. 879. Leichtentritt, Hugo. “On the Art of Béla Bartók,” in Modern Music, vi, No. 3 (March–April, 1929), 3–11. After discussing Bartók’s Allegro Barbaro and the Dance Suite for Orchestra, Leichtentritt analyzes the second sonata for violin + piano. He notes the influences of Hungarian folk song on the rhythm and tonality of the piece and analyzes the 2 scales found in it. 880. Mason, Colin. “Bartók’s Rhapsodies,” in Music and Letters, xxx (1949), 26–36. A discussion of the 3 rhapsodies and their various versions. Nos. 2 and 3 (violin + piano versions) are virtuosic, relatively shallow pieces compared to the works immediately before and after them. They use folk themes. Mason is mostly concerned with origins and form. 881. Doflein, Erich. “A propos des ‘44 Duos pour Deux Violons’ de Bartok,” in Revue Musicale, No. 224 (1955), 110–12. Doflein recounts how he solicited these duos from Bartók in 1930–31 in order to have contemporary art music easy enough for students. Jürg Baur b.1918 882. Güdelhöfer, Matthias. “Jürg Baur: die späte Kammermusik.” TIBIA. xxviii (2003), 362. Arnold Bax 1883–1953 883. Foreman, Lewis. Bax: A Composer and his Times. London/Berkeley: Scolar Press, 1983. ML 410.B275. ISBN 0-85967-643-9. xix + 491 pages. A biography that mentions chamber music in the course of events (see index). The list of works shows 5 string quartets, 5 quintets for various scorings, 1 piano quartet, various sonatas, trios and others. 884. Scott-Sutherland, Colin. Arnold Bax. London: J.M. Dent & Sons, 1973. ISBN 0-460-03861-3. xviii + 214 pages.

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A brief discussion of 2 string quartets, a nonet, a sonata for flute + harp, “Threnody and Scherzo” (bassoon + harp + string sextet), 3 sonatas for violin + piano, a cello sonata, and others. Amy Beach 1867–1944 885. Brown, Jeanell Elizabeth Wise. “Amy Beach and her Chamber Music: Biography, Documents, Style.” DMA Dissertation. University of Maryland, 1993. DAI, liv (February 1994), page 2785A. 300 pages. A biography of Beach enhanced by reference to correspondence with her publisher, her diaries and notebooks at the University of New Hampshire. Brown offers a traditional analysis of 14 chamber works by Beach. 886. Piscitelli, Felicia. “The Chamber Music of Mrs. H.H. Beach (1867– 1944).” MM thesis. University of New Mexico, 1983. MAI 322765. MAI xx (1984), p. 384. 85 pages. This analysis of her chamber works shows that while she composed in a basically late-Romantic style, Mrs. Beach tended to incorporate impressionistic harmonies, a leaner texture, and more concise motivic development into her music in her later years. 887. Flatt, Rose Marie Chisholm. “Analytical Approaches to Chromaticism in Amy Beach’s Piano Quintet in F# Minor,” in Indiana Theory Review, iv, No. 3 (1981), 41–58. A brief biography, a theoretical consideration of “chromaticism’ in late-19th-century traditional tonality, and application of concepts of chromaticism to measures 1–34 of the second movement of the quintet. Ludwig van Beethoven 1770–1827 For a list of all the chamber music by Beethoven, see The New Grove 1; Georg Kinsky and Hans Halm, eds. Das Werk Beethovens: thematischbibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen (Munich-Duisburg: G. Henle, 1955), systematic index pages 736–7 (ML 134. B4K5); and the following bibliography. 888. MacArdle, Donald W. “A Check-list of Beethoven’s Chamber Music,” in Music and Letters, xxvii (1946), 44–59, 83–101, 156–74, and 251–7. A systematic list of all chamber works attributed to Beethoven, according to number of instruments, scoring, opus number (if any),

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with basic data (key, title, dates). MacArdle gives a lengthy discussion of each of the chamber pieces, including sources, first publications, and authentication. There is an exhaustive, annotated bibliography. At the end is “Addenda and Corrigenda.” 889. Kinderman, William. Beethoven. Berkeley: University of California Press, 1995. ML410.B4K56.1995. ISBN 0-520-08796-8. xvi + 374 pages. An up-to-date study of the works of Beethoven, including the chamber music, with a chapter devoted to the Galitzin Quartets (Chapter 11, pages 284–307). This book is designed for the well-informed lay person. Another general introduction to Beethoven’s chamber music is by Kofi Agawu in 215. For a non-technical introduction to Beethoven’s chamber music, see Roger Fiske’s essay in Alec Robertson, ed. Chamber Music 212. 890. Wilson, Conrad. Notes on Beethoven: 20 Crucial Works. Edinburgh: Saint Andrew Press, 2003. ISBN: 071520808X./Grand Rapids (MI): William B. Eerdmans, 2005. ISBN: 0802829309. xii + 140 pages. A very short historical discussion of each of 20 works by Beethoven, including the following chamber music: Piano Trio in C minor, Op. 1, No. 3; String Quartet in F major, Op. 18, No. 1; String Quartet in F major, Op. 59, No. 1 (Razumovsky); Piano Trio in B flat major, Op. 97 (Archduke); String Quartet in B flat major, Op. 130; and Grosse Fuge, Op. 133. A few recordings are suggested. This book is designed for the novice. 891. Brandenburg, Sieghard, and Helmut Loos, eds. Beiträge zu Beethovens Kammermusik: Symposion Bonn 1984, in Veröffentlichungen des Beethovenhauses in Bonn, Neue Folge, Vierte Reihe, Vol. x. Munich: G. Henle, 1987. ISBN 3-87328-048-5. ML410.B42B46.1987. 352 pages. A very important collection of scholarly articles on Beethoven’s chamber music written by many top experts on the music of Beethoven. These include: “Das ‘Sprechende’ in Beethovens Instrumentalmusik” (Wolfgang Osthoff); “Beethoven und die kleine musikalische Form” (Martin Staehelin); “Beethovens Spätwerk und seine Aufnahme bei den Zeitgenossen” (Stefan Kunze); “Wirkungen Beethovens in der Kammermusik” (Reinhold Brinkmann); “Counterpoint and Syntax: On a Difficult Passage in the First Movement of Beethoven’s String Quartet in C minor, Opus 18 no. 4” (Richard Kramer); “Bemerkungen zum Streichquartett Op. 95” (Reinhard Wiesend); “Tonality and Form in the Variation Movements of Beethoven’s Late Quartets” (William Kinderman); “Über Bach, Kuhlau und die thematischmotivische Einheit der letzten Quartette Beethovens” (Emil Platen);

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“Zur Bedeutung der leeren Saiten in Beethovens Kammermusik” (William Drabkin); “Beethoven and the Problem of Closure: Some Examples from the Middle-Period Chamber Music” (Lewis Lockwood); “Klangaufbau als Themenvorbereitung im Spätwerk Beethovens” (Manfred Hermann Schmid); and “Das gespaltene Werk – Beethovens Streichquartett Op. 130/133” (Klaus Kropfinger). There are several additional articles that are not about chamber music. 892. Gysi, Fritz. “Beethovens Kammermusik,” in Gustav Bosse, ed. Beethoven-Almanach der Deutschen Musikbücherei auf das Jahr 1927 (Regensburg: Gustav Bosse, 1927), 270–82. ML 21.A463B6. An essay that probes Beethoven’s musical intentions in moving from a popular “conversation style” in his earliest chamber music to an independent “diction style” in his last chamber works. Gysi divides Beethoven’s chamber pieces into works for winds with or without piano, works with 1 or more strings with piano, and works only for strings; then he tries to place the first group before 1800, the second group between 1800 and 1815, the third group after 1815. 893. Sheer, Miriam. “Dynamics in Beethoven’s Late Instrumental Works: a New Profile,” in The Journal of Musicology, xvi (1998), 358–78. A brief discussion of the subtle use of dynamics in Beethoven’s late compositions, including the late cello sonatas and quartets. 894. Winter, Robert, and Robert Martin. The Beethoven Quartet Companion. Berkeley: University of California Press, 1994. MT 145.B425.B4.1994. ISBN 0-520-08211-7. xi + 300 pages. An outstanding introduction to the Beethoven quartets for laypersons, students, performers, musicologists, and cultural historians. The book is in 2 parts: the first is a collection of essays on the quartets in general by several of the most important writers on the subject, while the second is a quartet-by-quartet analysis by Michael Steinberg, including a glossary of basic terms confronted in studying the quartets. The first part deals with the culture and society of Beethoven’s time and the reception of the quartets then and later. The contributors include Joseph Kerman, Robert Winter, Maynard Solomon, Leon Botstein, and Robert Martin, and the ideas expressed are essential for anyone who wishes to understand these masterpieces. 895. Kerman, Joseph. The Beethoven Quartets. New York: Alfred A. Knopf, 1967. MT 145.B425K47. 386 pages, 184 musical examples. The outstanding modern critical study of the quartets. This is a scholarly yet readable history and analysis, with frequent discussion

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of other critics’ analyses. Since anyone who wishes to understand Beethoven’s quartets must read this, no summary is needed here. 896. Marliave, Joseph de. Les Quatuors de Beethoven, ed. Jean Escarra. Paris: Librairie Félix Alcan, 1925. MT 145.B425M3. Beethoven’s Quartets, trl. into English by Hilda Andrews. London: John Johnson for Oxford University Press, 1928. MT 415 B425.M33.1928. Reprint: New York: Dover Publications, 1961; 2004. MT 145.B425M33.1961. ISBN 0486439658. xxiii + 379 pages, 321 examples. Extensive, detailed history of Beethoven’s string quartets, with attention to his notebooks, early editions, and contemporary accounts. There are frequent citations of 19th-century and early 20th-century scholars to explain historical data and stylistic generalizations. The discussions of individual quartets are romanticized descriptions with little significant analysis (see Kerman’s critique in his study); Marliave looks for “deeper meaning,” often in biography rather than in the music. 897. Mason, Daniel Gregory. The Quartets of Beethoven. New York: Oxford University Press, 1947. MT 145.B425M35. x + 294 pages. An analysis of each of the quartets on a non-technical level with an attempt to discover the most important rhythmic or motivic ideas that give unity and form to each movement and each quartet. This is well written for the non-scholar and informed layperson. 898. Radcliffe, Philip. Beethoven’s String Quartets. London: Hutchinson University Library, 1965. MT 145. B425R3. 2nd ed. Cambridge/ New York: Cambridge University Press, 1978. MT 145.B425R3.1978. ISBN 0521219639. 192 pages, 102 musical examples. A non-technical discussion of the quartets in context of all of Beethoven’s works and the works of Mozart, Haydn and Schubert. Each quartet is treated separately but also in comparison with the others. 899. Lam, Basil. Beethoven String Quartets, i, in BBC Music Guides, Nos. 32–33. Seattle: University of Washington Press, 1975. MT 145. B425L35. ISBN 0-295-95423-X. 68 pages, 43 musical examples. Introduction to and critical analysis of Opp. 18, 59 and 74, as well as Trios Op.3 and Op. 9, and Quintet Op. 29. 900. Shepherd, Arthur. The String Quartets of Ludwig van Beethoven: Historic and Analytic Commentaries. Cleveland: Horace Carr, 1935. MT 145.B425S42. 91 pages. Program notes for a performance of the cycle at Severance Hall, Cleveland, Spring 1935, by Joseph Fuchs, Rudolph Ringwall, Carlton Cooley

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and Victor de Gomez. It is written for the layperson. Shepherd mixes history, fantasy, and anecdote; there is not much that is original, but it is entertaining. He considers the evolution of themes from the sketch books to the printed edition and the “poetic idea” in the late quartets. 901. Valetta, Ippolito. I Quartetti di Beethoven, in Bibliotheca Artistica, Band 33. Milan: Fratelli Bocca, 1943. 2nd ed. 1948. MT 145. B425V47.1948. 80 pages. In Italian. Program notes for a performance of the cycle in Rome in March 1905, by the Joachim Quartet. This is written for the general Italian public; it discusses briefly each quartet, the order of movements, and the architecture of the whole. An introductory essay points to the quartets as Beethoven’s “most profound, intimate, and artistic” works and divides them into 3 maniera. 902. Guardia, Ernesto de la. Los Cuartetos de Beethoven: su Historia y Anàlisis. Buenos Aires: Ricordi Americana, 1952. MT 145.B425G8. 245 pages. Notes for the first complete cycle performed in Buenos Aires in 1925, and repeated in 1927. This is a good introduction for the Spanishreading layperson. Short analyses mix relatively few technical concepts with general emotive descriptions. Guardia lists the quartet themes. 903. Helm, Theodor. Beethoven’s Streichquartette: Versuch einer technischen Analyse dieser Werke im Zusammenhange mit ihrem geistigen Gehalt: mit Vielen in den Text gedruckten Notenbeispielen. Leipzig: Siegel, 1885. 2nd enl. ed. 1910. 3rd ed. (reprint of 1910 ed.) 1921. 4th ed. (reprint of 1921 ed.) Niederwalluf b. Wiesbaden: M. Sändig, 1971. MT 145.B425H5.1971. ISBN 3-500-23600-6. vii + 355 pages. Originally appeared in Musikalische Wochenblatt iv (1873). For the non-scholar, primarily younger reader, who needs to study the scores intimately before reading the book. Helm seeks both the musical structure and the spiritual values. The final section of the book, expanded in the second edition, deals with quartets after Beethoven. The author is awe-inspired, but does also provide basic historical data (as known in 1885). He points out principal themes, tonalities and some other details but does not dwell on technical matters. This is far more useful than Desmarais’s description 906 but it does not yet underscore the complicated interrelationships of the quartets as expounded by later writers. (Helm criticizes Mahler for an 1899 orchestral performance of Op. 95 in Vienna.) 904. Riemann, Hugo. Beethoven’s Streichquartette erläutert. Berlin: Schlesinger (R. Lienau), 1910. MT 145.B425R5. 188 pages.

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A detailed theoretic analysis of each of the quartets based on Riemann’s Handbuch der Harmonielehre. Each group of quartets starts with a brief historical sketch of when they were written, published and first performed. Riemann analyzes motives and harmonic progressions. He avoids subjective statements, but at the same time often lacks a sense of the whole of each quartet (whether harmonic or extra-musical or formal). He also gives performance suggestions based on theory (for example, in Op. 18 No. 1, he warns the performers not to rush the second movement since the quarters of the melody are more crucial than the eighths of the accompaniment). 905. Lonchampt, Jacques. Les Quatuors à Cordes de Beethoven, in Les Cahiers du Journal Musical Français, Vol. 15. Paris: Société Française de Diffusion Musicale et Artistique, 1956. NYPL *MEC. 119 pages. A quartet by quartet description and analysis designed for the intensely involved layperson. Lonchampt gives biographical information affecting the creation of the quartet and quotes freely from a host of 19th- and 20th-century writers (including Wagner). This is useful as a more culturally oriented interpretation rather than a musicological or theoretic one. 906. Desmarais, Cyprien. Les Dix-huit Poèmes de Beethoven, Essai sur le Romantisme Musical. Paris: Société pour la Propagation du Catholicisme, des Sciences et des Artes, 1839. MT 145.B425D48. Reprint in part 3 of Essai sur les classiques et les Romantiques (1824); Le Roman: Etudes artistiques et littéraires (1837); and Les Dix-Huit Poèmes de Beethoven (1839). Geneva: Slatkine Reprints, 1973. PN 710.DA70.1973. xiv + 147 pages. A very early discussion of Beethoven’s string quartets. Desmarais gives poetic, extra-musical interpretations of each: No. 1 is “la vision,” No. 2 is “la rêve du bonheur,” No. 3 is “le poète,” No. 4 is “les passions, la jalousie,” and so on. There is no theory or history. 907. Ciortea, Tudor. Cvartetele de Beethoven. Bucharest: Editura Muzicalá a Uniunii Compozitorilor dìu Republica Socialistá România, 1968. MT 145.B415.C6. 309 pages, 488 musical examples. In Romanian. After a 12-page historical introduction, each quartet receives a chapter-long analysis primarily of themes, with some extra-musical references. Despite great length, the book seems superficial, the descriptions and references unoriginal. Ciortea is a distinguished Romanian composer. 908. Mila, Massimo. I Quartetti di Beethoven (Parte Prima: 1798–1810): Corso Monografico di Storia della Musica. Turin: G. Giappichelli, 1968. MT 145.B425M54. 129 pages. In Italian.

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Designed as a college course for non-music students at the University of Turin. After a brief opening chapter on bibliography (Kerman’s book 895 was received too late for inclusion), there is a discussion of the quartets, one by one, from Op. 18 to Op. 95. Mila includes historical background, and analyses of tonalities, form and emotion. See 956. 909. Biamonti, Giovanni. I Quartetti di Beethoven. Rome: G. Glingler, 1924. NL V49.O95. 40 pages. A quartet by quartet discussion ending with Op. 133. Biamonti compares the spirit of the quartets with other works that Beethoven was writing at the time. It is subjective, with some structural facts. 910. Boucourechliev, Andre. “Les quatuors de Beethoven,” in DiapasonHarmonie, No. 343 (November 1988), 62–71. See 261 for a series of papers on Beethoven’s string quartets as well as on those by Mozart, and Haydn. 911. Kinderman, William. The String Quartets of Beethoven. Urbana: University of Illinois Press, 2006. ISBN: 0252030362. 349 pages. A collection of scholarly essays on the quartets by Canadian, Austrian, English, and American experts, which covers them in various ways. It includes: Kinderman, “Transformational Processes in Beethoven’s Op. 18 Quartets”; Harald Krebs, “Metrical Dissonance and Metrical Revision in Beethoven’s String Quartets”; Malcolm Miller, “Peak Experience: High Register and Structure in the ‘Razumovsky’ Quartets, op. 59”; Lewis Lockwood, “Beethoven’s ‘Harp’ Quartet: the Sketches in Context”; Nicholas Marston, “‘Haydns Geist aus Beethovens Händen’? Fantasy and Farewell in the Quartet in E [flat], Op. 74”; Seow-Chin Ong, “Aspects of the Genesis of Beethoven’s String Quartet in F Minor, Op. 95”; Birgit Lodes, “‘So träumte mir, ich reiste … nach Indien’: Temporality and Mythology in Op. 127/I”; Robert Hatten, “Plenitude as Fulfillment: the Third Movement of Beethoven’s String Quartet in B [flat], Op. 130”; William E. Caplin “The Genesis of the Countersubjects for the Grosse Fuge”; Joseph Kerman, “Opus 131 and the Uncanny”; William Kinderman, “Beethoven’s Last Quartets: Threshold to a Fourth Creative Period?”; and “Appendix: Chronology and Sources of the String Quartets.” The book ends with an extensive bibliography. 912. Brusatti, Otto. “Klangexperimente in Beethovens Streichquartetten,” in Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, xxix (Tutzing: Hans Schneider, 1978), 69–87.

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Compares sounds of the late quartets with sounds from Beethoven’s other pieces (piano sonatas, violin + piano sonatas, symphonies). Beethoven’s influence on later quartets is seen not only in form and motivic development, but also in color effects: pizzicato in Op. 74, sul ponticello in Op. 131, and the bagpipe effect as in second movements in the late quartets. 913. Clarke, Rebecca. “The Beethoven Quartets as a Player Sees Them,” in Music and Letters, viii (1927), 178–90. Starting from the premise that it is more satisfying and more edifying to play a quartet by Beethoven than to listen to one, the author (a distinguished violist) characterizizes each of the quartets. Little, momentary details are more important than formal design. 914. Indorf, Gerd. Beethovens Streichquartette: kulturgeschichtliche Aspekte und Werkinterpretation. Freiburg im Breisgau: Rombach, 2004. ISBN: 3793094006. 511 pages. The first part describes Beethoven’s early years in Vienna, his friends and patrons, and the Schuppanzigh Quartet. The second part describes each of the quartets, movement by movement. This lengthy study is designed for the perfomer and listener, not the musicologist or theorist, but its density probably will scare off its intended audience. 915. Ginsburg [ = Ginzburg], Lev S. “Zur Geschichte der Aufführung der Streichquartette Beethovens in Russland,” in Gesellschaft für Musikforschung, Bericht über den internationalen musikwissenschaftlichen Kongress Bonn 1970 (Kassel: Bärenreiter, 1971). ISBN 3-7618-0146-7. Pages 135–40. Briefly traces the history of the performance of Beethoven’s quartets in Russia, starting with the violinist Karl Amenda who in 1799 brought the first version of Op. 18 No. 1 to Latvia and Russia. Indeed, Latvia heard Beethoven’s Op. 18 early and often. The Op. 59 were of course popular from the start (1806) for their use of Russian folk tunes, and the dedicatee of Opp. 127, 130, and 132 was also Russian—a cellist Nikolei Golizin (1794–1866). Even if these late quartets were not popular in Russia, they had their admirers who played them often. Ginsburg cites their reception by Glinka, Balakirev, and other famous Russian musicians. After 1918, when concerts were open to all classes, the performance of string quartets in general increased and the audience for Beethoven also grew. Ginsburg mentions many amateur and professional quartet ensembles in Russia. 916. Judenic, Nina. “Beethoven und die Volksmusik: dargestellt an seinen Streichquartetten,” in Ladislav Burlas, ed. Feiern zum 200. Jahrestag

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der Geburt Ludwig van Beethovens in der CSSR: Tagungsbericht des ii. internationalen musikologischen Symposiums (Piestany: Moravany, 1970), 191–215. Not seen. 917. Ratner, Leonard G. The Beethoven String Quartets: Compositional Strategies and Rhetoric. Stanford: Stanford Bookstore, 1995. MT145. B425.R38.1995. ISBN 1-887981-00-4. xiii + 341 pages. A quartet by quartet analysis that attempts to discover the “musical design” of each work. Ratner is concerned with harmonic and melodic form and with phraseology. This is an attractive book in quarto with larger than usual print. 918. Lindeman, Timothy H. “Strategies of Sonata Form in the First Movements of the Beethoven String Quartets.” PhD dissertation. Indiana University, 1987. 220 pages. DAI Vol. xlviii (April 1988), p. 2484A. Considers traditional elements that comprise sonata form and sees how Beethoven worked within the general concept of that form. 919. Beeson, Colin. “Rhythm in Beethoven’s String Quartets.” PhD dissertation. University of Reading, 1976. RILM 76–5485. 181 pages. For performers. Beeson considers the conflict between meter and both harmonic and melodic rhythm, hemiola, syncopation, notational problems, and changes of tempo within single movements. 920. Sturgis-Everett, Barbara Ann. “The First Movements of Beethoven’s Piano Sonata in E Major, Op. 14, No. 1 and his String Quartet in F Major, Op. 14, No. 1: a Critical Comparison.” DMA dissertation. University of Cincinnati, 1986. 92 pages. DAI Vol. xlvii (February 1987), p. 2795A. Simple comparison of the 2 settings of the same music. See also Finscher, Das macht mir nicht so leicht ein andrer nach: Beethovens Streichquartett-Bearbeitung der Klaviersonate Op. 14/1” 190. 921. Hadow, William Henry. Beethoven’s Op. 18 Quartets, in The Musical Pilgrim. London: H. Milford for Oxford University Press, 1926. Reprints 1942 and 1948. MT 145.B425H12. 64 pages. Written for the layperson, this describes the forms, basic keys, and chief melodies of each of the 6 quartets. Hadow also attempts to deal with the dramatic elements. He attributes some of the revolutionary expression and balance of Op. 18 to Beethoven’s access to outstanding string players (Schuppanzigh, Linke, Weiss).

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922. Levy, Janet Muriel. Beethoven’s Compositional Choices: The Two Versions of Opus 18, No. 1, First Movement, in Studies in the Criticism and Theory of Music, ed. Leonard B. Meyer. Philadelphia: University of Pennsylvania Press, 1982. ML 410.B4L5345.1982. ISBN 0-8122-7850-X. x + 101 pages. Tries to explain Beethoven’s remark that with the second version of Op. 18, No. 1 (the accepted version, as published) he had “learned to write quartets properly.” Since both versions exist complete, this is not an historical study (what outside influences caused Beethoven to do what he did) but a comparison of some details of the 2 complete artistic pieces. Levy considers how changes in details (for example, elimination of many uses of the turn motive) affect syntax and tighten the structure. She does not consider every change in detail and does not necessarily discuss fully all the changes that are considered. Frequently, she juxtaposes scores of the 2 versions so that the differences are clear. Her conclusion is that Beethoven meant numerous scoring changes to enhance continuity and coherence and to bring a tightening and telescoping of ideas for the same goal. This is an important study for understanding the extent of Beethoven’s skill and in particular how Op. 18, No. 1 in version 2 achieves some of its greatness. 923. Wedig, Hans Josef. Beethovens Streichquartett op. 18 Nr. 1 und seine erste Fassung: erste vollständige Veröffentlichung des Werkes aus dem Beethovenhaus mit Untersuchungen, in Veröffentlichungen des Beethovenhauses in Bonn, Band 2. Bonn: Beethovenhaus, 1922. ML 410.B42B42. No. 2. 23 pages + 39 pages of the complete score of the first version. An amazingly accurate and well-written essay on the string quartet of the 1780s and 1790s: Wedig includes Haydn, Mozart, Ferdinand Fränzl, Leopold Kozeluch, Pleyel, and Emanuel Aloys Förster, all of whom had a big influence on Beethoven’s quartet writing. Förster in Op. 16, 1798 is a model for harmonic richness, varied return of themes, sharp dynamic contrasts, surprising rhythmic freedom, and dramatic curve of the development sections. A well-documented account of Beethoven’s writing of Op. 18, No. 1, its thematic relationship to other works by Beethoven and works by other composers, and the special historical situation of the 2 versions. Wedig does not enter into the debate as to how the 2 versions came about, but concentrates on comparing the first movements. 924. Renger, Jens. “Zum Klassizismus in Beethovens Streichquartett Op. 18, 1,” in Musica, Vol. l (1996), 407–13. 925. Weill, Hanna. “The Two Versions of the Adagio of Beethoven’s String Quartet, Opus 18, No. 1: Revisions in Dynamics, Harmony, and Rhythm,” in The Beethoven Journal, Vol. x (1995), 60–5.

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926. Greenfield, Donald Tobias. “Sketch Studies for Three Movements of Beethoven’s String Quartets, Opus 18 #1 and 2.” PhD dissertation. Princeton University, 1983. UMI 83–03994. DAI xliii.9A, p. 2825. 514 pages. Greenfield studies the sketches for movements 1 and 4 of No. 1 and movement 2 of No. 2, to see how Beethoven composed in individual, specific cases. He transcribes nearly every sketch for these 3 movements. He considers separately a Prague manuscript copy with variants. 927. Brandenburg, Sieghard. “The First Version of Beethoven’s G Major String Quartet, Op. 18 No. 2,” in Music and Letters, lviii (1977), 127–52. Since Beethoven revised important details of Op. 18, No. 1 between 1799 and 1801, Brandenburg presumes the same kind of revisions took place with Op. 18, No. 2. He supports this presumption with evidence from sketch books. 928. Russell, Todd Benjamin. “Rhythm in Music: A Comparative Analysis of the Two Versions of Opus 18, No. 1 String Quartet (I, IV) by Beethoven.” PhD dissertation. University of Kentucky, 1993. 256 pages. DAI Vol. liv (March 1994), p. 3261A-2A. A comparative rhythmic and metric/accent analysis of movements 1 and 4 of Op. 18, No. 1, in 2 different versions each. 929. Yudkin, Jeremy. “Beethoven’s ‘Mozart’ Quartet,” in Journal of the American Musicological Society, xlv (1992), 30–74. Shows how Beethoven’s Op. 18, No. 5 String Quartet “is modeled on that of Mozart’s String Quartet in A major, K. 464” and how Beethoven returned to that Mozart quartet later in Op. 132. 930. Johnson, Douglas P. “Beethoven’s Sketches for the Scherzo of the Quartet Op. 18, No. 6,” in Journal of the American Musicological Society, xxiii (1970), 385–404. A detailed scholarly account of the isolated sketch manuscript for the scherzo movement now in Berkeley. Johnson compares it to sketches of the other movements in manuscripts located elsewhere and to the finished product. He tries to recreate Beethoven’s process of composition by analyzing the discarded notes. 931. Lippmann, Friedrich. “La melanconia nella musica: due esempi,” in Nuova Rivista Musicale Italiana, xxvi (1992), 212–17. Deals with Beethoven’s Op. 18, No. 6.

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932. Abraham, Gerald Ernst Heal. Beethoven’s Second-Period Quartets, in The Musical Pilgrim. London: Milford for Oxford University Press, 1942. Reprint: St. Clair Shores (Michigan): Scholarly Press, 1978. MT 145.B425A12. ISBN 0-403-01500-6. 79 pages, 43 examples. A brief introduction to Opp. 59, 74 and 95 for students, scholars, and laypersons. An historical introduction reveals the author’s keen wit, musicality and exceptional knowledge of music history. A movement by movement analysis, first outlining the basic themes and forms and then tying everything together with lucid and cleverly stated commentary. 933. Vetter, Walter. “Das Stilproblem in Beethovens Streichquartetten, op. 59,” in Musikleben, i (1948), 177–80. Notes the cyclic unity of each of the quartets and the organic and architectural unity of the 3 together. The old sonata form disappears—no repetition of the exposition, long flowing melodies replace simple first or second themes, and repetition of long lines in counterpoint replaces dramatic development of motives. Vetter differs from Mersmann who stresses linear aspects and from Riemann who looked for sonata form and harmony in everything. 934. Bishop, David Martin. “Chromatic and Diatonic Pitch-Class Motives and Their Influence on Closural Strategies: Analytical Studies of Three Middle-Period String Quartets of Ludwig van Beethoven.” PhD dissertation. University of Texas at Austin, 1999. DAI Vol. lx (March 2000), p. 3190A. 281 pages. 935. Ryan, Pamela Louise. “Beethoven’s Quartet in F Major, Op. 59, No. 1: Performance Practice in the Twentieth Century.” DMA dissertation. University of Connecticut, 1992. DAI Vol. liv (July 1993), p. 23A. 196 pages. Compares 3 dozen recordings by various ensembles of Op. 59, No. 1, movement 1. 936. Gibbs, Alan. “Beethoven’s Second Inversions,” in The Music Review, liii (1992), 83–4. Studies Op. 59, No. 1. 937. Hübsch, Lini. Ludwig van Beethoven: die Rasumowsky-Quartette op. 59 Nr. 1 F-dur, Nr. 2 e-moll, Nr. 3 C-dur, in Meisterwerke der Musik, Heft 40. Munich: Wilhelm-Fink-Verlag, 1983. MT 145.B425H8.1983. ISBN 3-7705-2165-X. 126 pages. A highly concentrated study of these 3 quartets: their history, origins, reception, position in Beethoven’s output, cyclic features as a group,

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and a thematic analysis. Hübsch is fussy about details; see the condemning review by Peter Cahn (Neue Zeitschrift für Musik, cxlvi [January 1985], 41). See 961, Part V: “Sketches for the String Quartets, Opus 59 (1806).” 938. Tyson, Alan. “The ‘Razumovsky’ Quartets: Some Aspects of the Sources,” in Alan Tyson, ed. Beethoven Studies 3 (Cambridge: Cambridge University Press, 1982), 107–40. ML 410.B4. ISBN 0-521-24131-6. A highly technical analysis of the manuscripts – of primary interest to scholars. Tyson easily dates and shows the order of composition of the 3 quartets based on known sources and watermarks. Then he turns to new, special problems in the sketches and autographs. He shows that a major source of sketches for Op. 59 was, at one time, bound as a collection; but the folios were not in a bound collection when Beethoven wrote on them. Therefore, the present order of the sketches does not have to be considered when tracing the order of composition. Sketches for the F major and E minor quartets are too incomplete to reveal any compositional process, but the C major first movement is nearly complete and there is a lot for the minuet and trio as well. These sketches show clearly that the C major quartet was No. 3 and was influenced by Mozart’s chamber music, especially K. 465. A number of other details are touched upon, such as the temporary rededication of the Op. 59 to Prince Lichnowsky rather than Razumovsky, and the use of development recap repetition as well as exposition repetition—this is considered but, in the long run, rejected. 939. Salmen, Walter. “Zur Gestaltung der ‘Thèmes Russes’ in Beethoven’s op. 59,” in Ludwig Finscher and Christoph-Hellmut Mahling, eds. Festschrift für Walter Wiora zum 30. Dezember 1966 (Kassel: Bärenreiter, 1967), pp. 397–404. ML 55.W46F5. Beethoven combines pure music with simple folk tunes. Since the middle-18th century, there were artistic arrangements of Russian tunes and other national folk tunes—a rediscovered naivité. Beethoven owned a collection of Russian tunes collected by Johann Gottfried Pratsch (St. Petersburg, 1790), from which came the Russian tunes in Op. 59. The tune symbolizes the simple, common man; the work of art is complicated and removes itself from Hausmusik, yet is here bound to a folk tradition. For a discussion of the revolutionary nature of and possible Masonic influences on Beethoven’s Op. 59 No. 1 quartet, see Jacques Chailley’s “Sur la Signification du Quatuor de Mozart K. 465 … ” 1890. See also 1560.

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940. Headlam, Dave. “A Rhythmic Study of the Exposition in the Second Movement of Beethoven’s Quartet Op. 59, No. 1,” in Music Theory Spectrum, vii (1985), 114–38. Traces the rhythmic organization of this exposition to the rhythm in the cello of the first 4 measures. This is based on studies by William Rothstein and Carl Schachter – the latter’s distinction between tonal rhythm (“derives from articulations of tonal structure”) and durational rhythm (“derives from patterns of stress and duration that produce pulse and meter”). This is a highly technical article, clearly written for the professional theorist. 941. Lockwood, Lewis. “A Problem of Form: The “Scherzo” of Beethoven’s String Quartet in F major, Opus 59, No. 1,” in Beethoven Forum 2, eds. Christopher Reynolds, Lewis Lockwood, and James Webster (Lincoln: University of Nebraska Press, 1993), 85–95. Lockwood considers the form of this movement. It avoids the traditional trio and the usual repetions, and is in a single continuous movement. Each movement of the quartet has first movement formal elements. 942. Del Mar, Jonathan. “A Problem Resolved? The Form of the Scherzo of Beethoven’s String Quartet in F, Op. 59, No. 1.” Beethoven Forum, viii (2000), 165–72. Del Mar suggests an overall formal analysis of this unusual movement that is in addition to the 4 possible formal analyses presented by Lockwood (Beethoven Forum, ii [1993], 85–95). Lockwood responds by emphasizing the need to study the sources to see how Beethoven evolved the movement and the need to study the formal innovations of Beethoven in the inner movements as well as in the outer ones. 943. Musikerautographen in Sammlung Helmut Nanz: Katalog. Tutzing: Hans Schneider, 1998. ISBN 3-7952-0950-1. 132 pages. Description of manuscript autographs of chamber music by Beethoven (Op. 59 No. 3), Schubert (String Quartet D 112), and Haydn (last 4 of the Prussian Quartets). 944. Barry, Barbara R. “Pitch Interpretation and Cyclical Procedures in Middle-Period Beethoven,” in The Musical Quarterly, lxxvi (1992), p. 198+. Deals with Op. 59, No. 2. 945. Finscher, Ludwig. “Beethovens Streichquartett op. 59, 3: Versuch einer Interpretation,” in Gerhard Schuhmacher, ed. Zur musikalischen Analyse, in Wege der Forschung, Band 257 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1924), 122–60. MT 6.S352Z8.

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The 3 Opp. 59 quartets form a unity in conception when as a group they are compared to earlier quartets by Beethoven, Haydn, and others. Finscher compares and contrasts the 3 quartets to each other, and then concentrates on the third. This is a very complicated analysis of the entire piece, which relates the symphonic tone to the result of the impression on Beethoven of Schuppanzigh’s public concerts. It is symphonic not just in the treatment of the instruments but in the use as well of symphonic stylistic and formal devices such as cyclic unity. 946. Fitsioris, George. “The General with the Hips of a Ballerina and the Feet of a Hare: The Slow Introduzione of Beethoven’s String Quartet, Op. 59, No. 3.” Mousiki analysi kai ermineia (Music Analysis and Interpretation: a Contribution to the Centenary since Th. W. Adorno’s Birth, Athens Concert Hall, 4–6 November 2003), Olympia Fragkou-Psychopaidi, P. Christoph Stroux, Nikos Tsouchlos, and Ioannis Foulias, eds. (Athens: Megaron Mousikis Athinon, 2006, RILM 2006–7656), 291–310. A complicated refining of a Schenkerian analysis of the introduction to Beethoven’s Op. 59, No. 3 quartet whereby it is reduced to a I-V progression. 947. Agmon, Eytan. “Musical Durations as Mathematical Intervals: Some Implications for the Theory and Analysis of Rhythm,” in Music Analysis,. xvi (1997), 45–75. Deals with Beethoven’s Opus 95. 948. Kerman, Joseph. “Close Readings of the ‘Heard’ Kind,” in 19th Century Music, xvii (1994), 209–19. Deals with Beethoven’s Op. 95 String Quartet. 949. Ong, Seow-Chin. “Open Forum: On the String Quartet, op. 95.” Beethoven Forum, xiii, No. 2 (2006), 212–13. In a brief letter, Ong discusses the long delay from the composition of Beethoven’s Op. 95 quartet and its publication. Perhaps this was owing to his worry that this abrupt and unusual quartet would not be widely accepted. 950. Livingstone, Ernest. “The Final Coda in Beethoven’s String Quartet in F Minor, Opus 95,” in Jerald C. Graue, ed. Essays on Music for Charles Warren Fox (Rochester: Eastman School of Music Press, 1979), 132–44. ML 55.F69. ISBN 0-9603-186-07. An attempt to explain the coda’s relationship to the rest of the quartet based on motivic and intervallic similarities with the earlier movements.

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At the very end, Livingstone mentions the contrast in mood which the F major coda presents to the overriding melancholy of the rest of the quartet, but he ignores the coda as the culmination of a continual struggle between F minor and D major throughout the quartet. The late quartets were largely misunderstood in the 19th century but have become especially valued in the 20th. 951. Knittel, Kristin Marta. “From Chaos to History: The Reception of Beethoven’s Late Quartets.” PhD Dissertation. Princeton University, 1992. DAI Vol. liii (December 1992), p. 1717A+. 297 pages. How Beethoven’s late quartets were viewed in the 19th century and the change in that view from wild pieces to masterpieces. 952. Spitzer, Michael. Music as Philosophy: Adorno and Beethoven’s Late Style. Bloomington: Indiana University Press, 2006. ISBN 0253347246. 369 pages. Starting from an unfinished essay on late Beethoven by Adorno, Spitzer creates a theory for understanding the late works, including all the late quartets. He elaborates on 3 parameters: normative (musical language), creative (subjectivity), and natural, and he prefers an open-ended conflict among these to describe what Beethoven’s late works were about. He sees Beethoven expanding Classical style rather than rejecting it. This is a complicated treatise for the advanced theoretician who is also well-read in philosophy over the past 250 years. The following is a mechanical analysis or description without any insight, typical of the 19th century and quite different from 20th-century analyses. 953. Bargheer, Carl Louis. L. von Beethoven’s fünf letzte Quartette für die Kammermusik-Abende der Philharmonischen Gesellschaft in Hamburg. Hamburg: J.F. Richter, 1883. 787.B39qYb. iv + 56 pages. A brief introduction that quotes Carl Holz (Schuppanzigh’s second violinist) on how Beethoven regarded the composition of the 5 quartets. Bargheer describes the order of themes and, in some cases, their development. Tonalities are mentioned in passing. There is no historical insight, and no mention of the generative 4-note motive. On the other hand, respected 20th-century musicians have not always respected the pieces. 954. Moldenhauer, Hans. “Busoni’s Kritik an Beethovens letzten Quartetten,” in Neue Zeitschrift für Musik, cxxi (1960), 416–17.

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Moldenhauer comments on and prints a letter by Busoni of November 15, 1917, now owned by Ludwig Finscher. Busoni is disappointed with the last 5 quartets of Beethoven, which are too incomprehensible; the contents are noble but they often get lost in dry, dull formulas. He also prints Mario Castelnuovo-Tedesco’s response upon reading Busoni’s letter; he agrees with Busoni—the Op. 59 quartets were the last to balance form and ideas. A good, uncomplicated introduction to the late quartets is the following: 955. Fiske, Roger. Beethoven’s Last Quartets, in The Musical Pilgrim. London: Geoffrey Cumberlege for Oxford University Press, 1940. MT 145.B425.F56. 77 pages, 67 musical examples. A brief but in-depth analysis of the last 5 quartets and Der Grosse Fuge for the non-specialist. In the introduction, Fiske places the quartets within Beethoven’s biography. Then he concentrates on motivic and rhythmic structure. He includes brief historical data. 956. Mila, Massimo. Beethoven: I Quartetti Galitzine e la Grande Fuga: Corso Monografico de Storia della Musica. Turin: G. Giappichelli, 1969. ML 410.B42M64. iii + 161 pages. In Italian. A sequel to 908. A popular, intelligent history of the quartets, their cool reception at first, the late style of Beethoven, and his place among the visionaries of the 19th century who explore the frontier of consciousness. It is based on work by Marliave, Fiske, Ulrich, and others. Analyses are non-technical, in essay form, and with frequent quotations from Rolland, Bekker, Kerman, and others. Somewhat more technical but still for the layperson is: 957. Truscott, Harold. Beethoven’s Late String Quartets. London: Dennis Dobson, 1968. MT 145.B425T8. ISBN 0234–77973-X. vii + 148 pages. Expansion of 6 radio talks in 1964. Truscott assumes the reader has the scores in hand but includes 53 musical examples. This book is intended for the informed layperson who wants to understand the music. An intelligent introduction shows Beethoven’s treatment of sonata form, especially in his third period. Then Truscott analyzes style, texture, harmony, treatment of melody and rhythm in the quartets including Op. 133. This is not extra musical or philosophical. For motivic analysis of Op. 95 to Op. 135, in comparison with Bartók’s 6 quartets, see Frank Spinosa’s dissertation 836.

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958. Taylor, Benedict. “The problem of the ‘Introduction’ in Beethoven’s Late Quartets.” Ad Parnassum, iii No. 6 (October 2005), 45–64, abstract on page 195. The first movement of the Op. 127 quartet opens with a slow introduction that then is part of the first theme of a sonata form; the subsequent allegro is the response to the opening adagio. Taylor sees this as a dichotomy between the structure of sonata form and what he calls “rotation” form (strophic or variation). He tries to show how Beethoven treated this apparent conflict by tracing the slow introductions of Opera 127, 132, and 130 and what Beethoven does with them in the course of the entire quartets. Unfortunately, the essay is poorly written and needs the heavy hand of a good editor; some interesting parallels in Piano Sonata Op. 101 and the Egmont Overture, for example, are ignored. 959. Carr-Richardson, Amy. “Phrase Rhythm and Form: The Scherzi of Beethoven’s Late String Quartets.” PhD dissertation. Florida State University, 1995. 204 pages. DAI Vol. lvi (January 1996), p. 2472A. Studies tonal rhythm, durational rhythm, and hypermeter in these scherzi. 960. Brügge, Joachim. “Zu Ferdinand Zehentreiter, Bruch und Kontinuität in Beethovens späten Quartetten: einige Überlegungen zur Werk-und Bedeutungsanalyse in: Musiktheorie 11 (1996), Heft 3, S.211–40,” in Musiktheorie, xii (1997), 165–8. 961. Johnson, Douglas P., Alan Tyson, and Robert Winter, eds. The Beethoven Sketchbooks: History, Reconstruction, Inventory. Berkeley/ Los Angeles: University of California Press, 1985. ML 410. B4J58.1985. ISBN 0-5200-48350. See Part IV: “Sketches in Score for the Late Quartets” (pages 463–508) and Part V “Some Problematical Cases: Sketches for the String Quartets, Op. 59 (1806)” (pages 524–6). 962. Kreft, Ekkehard. Die späten Quartette Beethovens: Substanz und Substanzverarbeitung. Bonn: H. Bouvier,1969. MT 145.B425K7. 279 pages. A detailed theoretical analysis for music theorists of the motivic, harmonic, and formal concepts of the late quartets, including Op. 133. Kreft is not as concerned with the superficial elements of form as with its “substance”. He dissects themes and motives and traces them in different guises. Much of this study is through charts and formulas. After a quartet by quartet analysis, Kreft gives a summary of the substance of themes, development of substance, substance in non-sonata-form movements, and variation.

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963. Cooke, Deryck. “The Unity of Beethoven’s Late Quartets,” in The Music Review, xxiv (1963), 30–49. Based on the author’s The Language of Music (London: Oxford, 1959). Cooke analyzes the “motivic evolution” of the 5 quartets with stress on the extramusical significance of the motives. 964. Sekine, Kazue. “Beethoven Bannen No Gengakushijusokyo ku.” MA thesis. Tokyo National University of Fine Arts and Music, 1976. RILM 76–5632. 197 pages. In Japanese. Analyzes the idea of motivic unity in the last quartets and considers them also from a biographical viewpoint. 965. Riseling, Robert A. “Motivic Structures in Beethoven’s Late Quartets,” in Johan Glowacki, ed. Paul A. Pisk: Essays in his Honor (Austin: University of Texas, 1966), pages 141–62. ML 55.P6G6. A technical study that attempts to show the unity in Beethoven’s late quartets by motivic structure (not only the B-A-C-H theme but also a basic fourth and third interval), rhythm, and spatial organization. 966. Wildberger, Jacques. “Versuch über Beethovens späte Streichquartette,” in Schweizerische Musikzeitung, cx (1970), 1–8. Seeks to correlate Beethoven’s psychological state of mind with the happenings in his late quartets. His fixation on his nephew corresponds to his fixation on the 4-note unifying motive. This is based on suppositions, not facts. 967. Müller-Blattau, Joseph. “Beethoven im Spätwerk,” in Walther Vetter, ed. Festschrift Max Schneider zum achtigsten Geburtstage (Leipzig: Deutscher Verlag für Musik, 1955), 215–25. ML 55.V4. A good general introduction to the late quartets. It is not very technical, and is ideal for the layperson and student. Müller-Blattau believes that all the late works are interrelated, not so much for their expression of events in Beethoven’s life, but for their cyclic expression of his most mature thoughts on art, mankind, and the world. He describes 3 genres: piano music, symphony, and quartet. He devotes most of the article to the quartets. Müller-Blattau reviews the first century of writings on them and then takes a new look. Initially, he finds different principles of construction from the earlier quartets: for example, individual forms of movements give way to cyclic, motivic structure, and 4 movements give way to 5, 6, 7 movements; but there is always unity. 968. Stephan, Rudolf. “Zu Beethovens letzten Quartetten,” in Die Musikforschung, xxiii (1970), 245–56.

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A few remarks on the quartets. Stephan relates them thematically to many other pieces by Beethoven. He emphasizes the form of Op. 131. 969. Mahaim, Ivan. Beethoven. Paris: Desclée De Brouwer, 1964. MT 145.B425M5. 2 vols. I: Beethoven: Naissance et Renaissance des Derniers Quatuors, 280 pages, 16 charts, 229 illustrations (including programs, portraits, letters, postcards, and music); II: Beethoven: La Terre Natale et la Trilogie, 298 pages, 40 illustrations. A translation of a small portion of Part I is “The First Complete Beethoven Quartet Cycles, 1845–51: Historical Notes on the London Quartett Society,” trl. by Evi Levin, in The Musical Quarterly, lxxx (1996), 500–524. An exhaustive, exciting, beautiful book on the performers and performances of Beethoven’s late quartets (including Op. 133) from their premiers until the end of the Capet Quartet in 1928, with primary emphasis on the 19th century. The book is handsomely illustrated with portraits and programs of the concerts, documented with numerous additional bits of information (for example, in chart No. 7, Mahaim shows which Beethoven quartets were played by the Quatuor Millout 1849–81; in chart No. 8, he shows which Beethoven quartets were played by the Quatuor Schwaederl, in Strassburg 1855–67). He draws from newspapers, journals, autobiographies, and diaries. America is included, beginning with the Theodor Thomas Quartet of New York 1855–68 (chart No. 10), as well as Russia, Poland, Hungary, Denmark, Italy, and other places. Volume II has an extensive bibliography, indices, biographical data, a discussion of the B-A-C-H motive, and Mahaim gives special attention to Op. 133. 970. Messing, Scott. “The Romantic Reception of Beethoven’s Late String Quartets,” in Michigan Academician, xxiii/4 (1991), 307–16. Messing notes the 2 kinds of audience that emerged in Vienna after 1815: that of “enlightened patronage” and that of “bourgeois taste.” The former, for whom Beethoven wrote his serious works, had training and developed sensitivity to great music, while the latter, the masses, understood only simpler music such as the quatuors brillants. The elite, including the truly great composers of the 1830s to 1850s, worshiped the late Beethoven quartets, but among the masses these works found only a small reception. 971. Krummacher, Friedhelm. “Synthesis des Disparaten: zu Beethovens späten Quartetten und ihrer frühen Rezeption,” in Archiv für Musikwissenschaft, xxxvii (1980), 99–134. Scholarly, thought-provoking discussion, with reference to the most important literature on these quartets from the 1950s to the late

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1970s. Krummacher challenges the idea that there is nothing new to be said about them; are they not much easier and better received by audiences today than 85 years ago? But they may have lost some of their purpose by being so readily accepted today rather than by posing enormous difficulties to the listener. What did Beethoven intend? The confusion of the early listeners should not be taken simply as their stupidity. Krummacher reviews various analytical studies, and spends much time with Mendelssohn’s reaction to the quartets. He considers whether or not the contrast of Classical and Romantic has any bearing on how one listens to the quartets. 972. Chua, Daniel K.L. The ‘Galitzen’ Quartets of Beethoven. Princeton: Princeton University Press, 1995. MT 145.B425.C56. ISBN 0-69104403-1. v + 286 pages. An analysis of the 3 late quartets Opp. 127, 132, and 130 (original version with the fugue) in order of composition between 1823 and 1825. “The procedures of the ‘Galitzin’ pieces are examined in order to elicit some kind of meaning.” Separate chapters are devoted to “Motifs, Counterpoint, and Form: Op. 127,” “Unity and Disunity: the First Movement of Op. 132,” “Rhythm, Time, and Space: the Last Four Movements of Op. 132,” “Cadences and Closure: the Middle Movements of Op. 130,” and “Doubles and Parallels: the First Movement of Op. 130 and the Grosse Fuge, Op. 133.” This is a brilliant, well-written theoretical study for the scholar. 973. Drabkin, William. “The Cello Part in Beethoven’s Late Quartets,” in Beethoven Forum 7, eds. Mark Evan Bonds, Lewis Lockwood, Christopher Reynolds, and Elaine R. Sisman (Lincoln: University of Nebraska Press, 1999), 45–66. In searching for what makes the cello parts in late Beethoven quartets special, Drabkin considers the great technical demands on the cellist, Beethoven’s synthesis of Haydn’s and Mozart’s melodic writing, “conflicts of function and register,” “rapid changes of function in the cello part,” and the emphasis on the lowest—C—string. 974. Knittel, Kay M. “Wagner, Deafness, and the Reception of Beethoven’s Late Style,” in Journal of the American Musicological Society, li (1998), 49–82. Analyzes Wagner’s 1870 essay on Beethoven in which Wagner romanticizes Beethoven’s deafness and claims that the ailment was the source of Beethoven’s strength and creativity. This sharply defies earlier assessments by Beethoven’s contemporaries and immediate successors that the late works were bad because Beethoven was

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deaf. A focal point of this discussion are the string quartets from Op. 95 on. 975. Saloman, Ora Frishberg. “Origins, Performances, and Reception History of Beethoven’s Late Quartets,” in The Musical Quarterly, lxxx (1996), 525–40. Not only a review of Mahaim’s gigantic work but an important source for writings about the late quartets and especially about the Grosse Fuge. 976. Bashford, Christina. “The Late Beethoven Quartets and the London Press, 1836–ca.1850,” in The Musical Quarterly, lxxxiv (2000), 84–122. Shows how critics and performers paved the way for the appreciation of the late quartets of Beethoven in London by c.1850. While Beethoven’s symphonies had entered the canon by the 1830s, fear of the difficulties of the late quartets had prevented their full acceptance by the general public. 977. Ebert, Alfred. “Die ersten Aufführung von Beethovens Es-Dur Quartett (op. 127) im Frühling 1825,” in Die Musik, ix.3 (1909–10), 42–63 and 90–106. Reviews Beethoven’s writing of the quartet in 1824–25, and then places in order all the documents (letters and notebooks) describing its first performance. Ebert reveals how Schuppanzigh worked, and the concerts he gave regularly at the old Musikverein, as well as his particularly close relationship with Beethoven. The quartet was premiered by Schuppanzigh unsuccessfully on March 6, 1825. It was played privately by Boehm’s quartet c.March 20–22, 1825, and publicly on Wednesday, March 23, 1825, both with great success. It was also played soon thereafter by Joseph Mayseder. 978. Adelson, Robert. “Beethoven’s String Quartet in E Flat Op.127: A study of the First Performances,” in Music and Letters, lxxix (1998), 219–43. Discusses the problems faced by the Schuppanzigh, Böhm, and Mayseder Quartets in performing Op. 127. Adelson lists 3 objectives in trying to understand how the quartet was received: the context in which the performers worked, “the factors which contributed to its initial reception,” and how the public “struggled” to accept the piece. He goes into the Beethoven conversation books to interpret performance questions that were put by the performers to Beethoven. This is a fascinating study of what the repertoire of the 3 professional quartets was. 979. Marston, Nicholas. “Schumann’s Monument to Beethoven,” in 19th Century Music, xiv (1991), 247–64.

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Beethoven’s Op. 127 considered. 980. Smyth, David Harold. “Patterning Beyond Hypermeter,” in College Music Symposium, xxxii (1992), 79–98. Analysis of Beethoven’s Op. 127. 981. Lodes, Birgit. “Beethovens individuelle Aneignung der langsamen Einleitung: zum Kopfsatz des Streichquartetts op. 127,” in Musica, xlix (1995), 311–20. 982. De Kenessey, Stefania Maria. “The Quartet, the Finale and the Fugue: a Study of Beethoven’s Opus 130/133.” PhD dissertation. Princeton University, 1984. UMI 84–05109. DAI xliv.11A, p. 3198. 341 pages. Analyzes the quartet and shows that the motivic material of the first movement is organized about the chromatic hexachord F up to B-flat. This hexachord also governs the entire quartet, with each half-step ascending through each pair of movements and reaching its climax in the present finale. The original fugue movement radically expanded the ascent from G up to B-flat, whereas the present finale emphasizes the smaller trichord F to G. 983. MacArdle, Donald W. “Beethoven’s Quartet in B-Flat, Op. 130: An Analysis,” in The Music Review, viii (1947), 11–24. A detailed description of the quartet outlining the basic themes, harmonies, forms, and styles of each movement. There is a schematic “analysis” at the end. See Stahmer’s “Zur Frage der Interpretation von Musik: eine musiksoziologische Modellstudie dargestellt an dem 1. Satz von Beethovens Streichquartett Op. 130,” in 675, pages 81–99. 984. Agawu, V. Kofi. Music as Discourse. New York: Oxford University Press, 2008. ISBN: 9780195370249. Includes a discussion of the first movement of Beethoven’s String Quartet Op. 130 (1825–6). 985. Kopfermann, Michael. Beiträge zur musikalischen Analyse später Werke Ludwig van Beethovens, in Berliner musikwissenschaftliche Arbeiten, Band. 10. Munich/Salzburg: Musikverlag Emil Katzbichler, 1975. ML 410.B42K66.1975. ISBN 3-87397-040-6. 150 pages. A thought-provoking treatise on the meaning of analysis with special attention to Rudolph Reti. Kopfermann studies the relationship of form and harmony (the musical logic in a piece) in late Beethoven,

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with most of the discussion centering around the first movement of Op. 130. See 759 for another interpretation of the first movement of Op. 130. 986. Kramer, Richard. “Between Cavatina and Ouverture: Opus 130 and the Voices of Narrative,” in Beethoven Forum 1, eds. Christopher Reynolds, Lewis Lockwood, and James Webster (Lincoln: University of Nebraska Press, 1992), 165–89. A probing inquiry into the Grosse Fuge as the ending for Op. 130— how the overture (the beginning of the fugue) follows upon the immediately preceeding cavatina—the continuity from the beginning of the piece through the fugue. While he approves of Kropfinger’s use of the sketches to prove that the fugue is more integral to Op. 130 than the later finale, he challenges the concept of whether what explains Beethoven’s intentions is relevant to what explains the piece of music. 987. Churgin, Bathia. “The Andante con moto in Beethoven’s String Quartet Op. 130: The Final Version and Changes on the Autograph,” in The Journal of Musicology, xvi (1998), 227–53. An important insight into the creation of this work from a serious scholar. 988. Albrecht, Theodore. “Beethoven’s So-Called Liebquartett, Op. 130: A Case of Mistaken Identity,” in The Journal of Musicology, xvi (1998), 410–19. Shows that the use of the name “Liebquartett” for Op. 130, not by the leading Beethoven scholars but mostly by amateur popularizers of Beethoven’s work, is a mistake. Rather, Beethoven used the term “Liebquartett” to refer to his favorite ensemble: the Schuppanzigh Quartet. 989. Kropfinger, Klaus. “What Remained Unresolved [Was unerledigt blieb],” trl. by Irene Zedlacher, in The Musical Quarterly, lxxx (1996), 541–7. A critique of Saloman’s review of Mahaim’s book in which Saloman considers the Grosse Fuge as a mistake that Beethoven corrected by replacing it with the later finale to his Op. 130 quartet. Kropfinger points to the Grosse Fuge as an integral part of the original quartet. See Kropfinger’s contribution to Sieghard Brandenburg and Helmut Loos, eds. Beiträge zu Beethovens Kammermusik: Symposion Bonn 1984, in Verffentlichungen des Beethovenhauses in Bonn, Neue Folge, Vierte Reihe, Vol. x. Munich: G. Henle, 1987. 990. Menke, Johannes. “‘Alla danza tedesca’: Über den vierten Satz des Streichquartetts op. 130.” Musik & Asthetik: Beethoven: Zum Spätwerk,

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Ludwig Holtmeier, ed., ix, No. 34 (April 2005), 38–53. ISBN 3608986081. Shows that Beethoven, in the fourth movement of his quartet Op. 130, balanced progressiveness, complexity, conventionality, and simplicity at the same time. It is not a German dance per se but it has the feel of a German dance; it is a parody of such music. This gives Beethoven the opportunity to treat the movement on different levels and to reach different stages on the scale from exact symmetry to implied symmetry or from construction to deconstruction. The direct simplicity on one level is countered simultaneously on more subtle levels, such as by rhythmic asymmetry in the accompaniment. 991. Rosato, Paolo. “From Paradigms to Musical Interpretation: An Analysis of the Cavatina from Beethoven’s String Quartet Op. 130.” Systems of Musical Sense: Essays on the Analysis, Semiotics and Hermeneutics of Music, Fulvio Delli Pizzi, Michele Ignelzi, and Paolo Rosato, eds. (Imatra: International Semiotics Institute at Imatra/ Helsinki: Semiotic Society of Finland: University of Helsinki, Department of Musicology, 2004, ISBN: 9525431061), 81–91. A dissection of this movement into motivic units, and by comparison of these units, an attempt to prove that Beethoven develops these units by contraction and avoidance of redundancy. Rosato has witten for music theorists. 992. Barry, Barbara R. “Recycling the End of the ‘Leibquartett’: Models, Meaning, and Propriety in Beethoven’s Quartet in B-Flat Major, Opus 130,” in The Journal of Musicology, xiii (1995), 355–76. An analysis of the Grosse Fuge as the original ending of Op. 130 and why Beethoven chose such a weighty finale to this quartet. Barry points to the difference in interpretation of the whole quartet depending on which finale is ultimately chosen for performance. Partial Schenkerian analysis of how the fugue is an outgrowth and logical conclusion of the previous 5 movements. 993. Riethmüller, Albrecht. “Im Bann der Urfassung: am Beispiel von Beethovens Streichquartett B-dur op. 130,” in Die Musikforschung, xliii (1990), 201–11. A discussion of the concept of “Urtext” or original version of a piece of music. As an example, Riethmüller chooses Beethoven’s Op. 130 String Quartet with its 2 finales. It is not important which is more authentic: the first because it comes through the initial inspiration or the last because it is the most carefully worked out. The version that works the best is the right one, and a great composer such as Beethoven

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recognized that the fugue was not suitable for the finale (a point borrowed from Kerman). 994. Hatten, Robert S. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Indianapolis: University of Indiana Press, 1994. ML410.B4H28.1994. ISBN 0-253-32742-3. A discussion of Beethoven’s chamber music occurs in 2 chapters: “Thematic Markedness: The First Movements of Op. 130 and 131” (pages 133–60); and “Analysis and Synthesis: The Cavatina from Op. 130” (pages 203–23). See also 719. 995. Tovey, Donald Francis. “Some Aspects of Beethoven’s Art Forms,” in Music and Letters, iii (1927), 131–155 and in Hubert Foss, ed. Essays and Lectures on Music (London/New York/Toronto: Oxford University Press, 1949), 271–97. On pages 288–97 of the Foss edition is an analysis of Beethoven’s Op. 131 that is written in marvelous prose. It is primarily concerned with tonalities. Tovey warns against referring to forms as moulds and campaigns for the appreciation of the individuality of great works. 996. White, David Ashley. “Toward a Theory of Profundity in Music,” in The Journal of Aesthetics and Art Criticism, l (1992), 23–34. Deals with Beethoven’s Op. 131. 997. Barry, Barbara R. “Teleology and Structural Determinants in Beethoven’s C-Sharp Minor Quartet, Op. 131,” in College Music Symposium, Vol. xxx (1990), 57–73. See also 730. 998. Winter, Robert S., III. Compositional Origins of Beethoven’s Opus 131, movement 1, fugue, in Studies in Musioclogy, No. 54. Ann Arbor: UMI Research Press, 1982. MT 145.B425W5.1982. ISBN 0-8357-1289-3. xxiv + 385 pages. An extension of part of his dissertation, “Compositional Origins of Beethoven’s String Quartet in C#-minor, Op. 131.” PhD dissertation. University of Chicago, 1978. DAI xxxix.4A, p. 1923. The dissertation is an attempt to recreate Beethoven’s creative process by analysis of some 350 pages of score sketches for Op. 131 and a comparison of them with the final version. Winter evaluates the Beethoven sketch books and deals with watermarks, the sequence of the original books, autographs compared to first editions, and the “evolution of the finale.” This is one of the finest critical analyses of a Beethoven quartet.

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999. Winter, Robert. “Plans for the Structure of the String Quartet in C Sharp Minor, Op. 131,” in Alan Tyson, ed. Beethoven Studies, ii (London/Oxford/New York: Oxford University Press, 1977), 106–37. ML 410.B4. ISBN 0-19-315315-7. A scholarly analysis of the “Kullak” sketchbook’s “telescoped draft” of the overall tonal plan of Op. 131. Winter gives a brief review of the various types of sketches, and then concentrates on how Beethoven planned this quartet: first in 4 movements, then in 3, at last in 7. He also considers the opening fugue movement, which follows directly on Op. 133, and the key of C# and various related keys for fugue answers (especially subdominant) and subsequent movements including an aborted “D-flat postscript” (mainly from the “Kullak” sketches but also utilizing other sketches and drafts). Winter seems fascinated with the “tug-of-war between large-scale design and its ramifications for specific movements.” By the fourth and fifth tonal overviews, the emphasis on subdominant and neopolitan is clear. The final version alters this emphasis, especially by bringing in more dominant and by moving the scherzo from F# minor to E major. Thus, it is only by knowing the tonal overviews that we can trace Beethoven’s struggle with new tonal conceptions—not between the tonalities of sections of a movement but among whole movements. 1000. Brandenburg, Sieghard. “The Historical Background to the ‘Heiliger Dankgesang’ in Beethoven’s A-Minor Quartet Op. 132,” in Alan Tyson, ed. Beethoven Studies iii (Cambridge/London/New York: Cambridge University Press, 1982), 161–91. ML 410.B4. ISBN 0-521-24131-6. The most important scholarly study of the origins and meaning of Beethoven’s use of a chorale for movement 3 of Op. 132—a study derived from the sketches. Beethoven achieves an integration of church music elements with classical form. Brandenburg explores the influence on Beethoven of treatises and articles on church music that Beethoven probably read (books in his possession, periodicals he received); the 19th-century conception of church-like music is manifest in the adagio molto tempo, uniform minim rhythm, uncertainty of meter, simplicity, absence of ornaments, and note-against-note rhythm. The accompaniment of a chorale can vary, but the tune remains “pure”; Türk discusses contrapuntal variation in the 3 lower parts, which serves as a model for the second strophe of the Dankgesang. Türk is a major influence on Beethoven, and so also are Kirnberger, Knecht, and Vogler, rather than Gafurius or Zarlino directly. The sketches disprove Kerman’s program for the quartet as a whole. From the start, Beethoven intended the alternation of a

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chorale and “interludes,” but the idea of “lydian” was not indicated in the music or by rubric until after the completion of the autograph. He only gradually arrived at a lydian sound. Continual changes in the sketches also rule out a pre-existent chorale tune as a model as well as a polyphonic model. 1001. Vitercik, Gregory, John Response, and Robin Wallace. “Structure and Expression in Beethoven’s Op. 132,” in Journal of Musicological Research, xiii (1993), p. 233+. 1002. Agawu, Victor Kofi. “The First Movement of Beethoven’s Opus 132 and the Classical Style,” in College Music Symposium, xxvii (1987), 30–45. 1003. Wallace, Robin. “Background and Expression in the First Movement of Beethoven’s Op. 132,” in The Journal of Musicology, vii (1989), 3–20. Makes a case for analyzing the expression of Beethoven’s music and how his personality, life experiences, and his emotional development played a role in his music. Wallace poses a challenge to those who would dismiss the “spiritual” in Beethoven since it is so hard to define. 1004. Spitzer, Michael. Metaphor and Musical Thought. Chicago: University of Chicago Press, 2004. ISBN 0226769720. x + 380 pages. Includes a discussion of the first movement of Beethoven’s Op. 132 String Quartet in terms of semiotics. 1005. Clarke, Eric F. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 2005. ISBN: 0195151941. 237 pages. NetLibrary online. Clarke studies how the listener listens to music and the relationship between the listener and his/her environment. In Chapter 6, Clarke approaches the first movement of Beethoven’s String Quartet Op. 132 “from a number of different angles, which, though presented separately, are understood to coexist and to interact in the experience of a listener.” The 21st-century listener hears different things in the music from a 19th-century listener, so Clarke explores what the modern listener hears. He provides an intense, systematic musicological study. 1006. Kopfermann, Michael. “Über den Zahlsinn: der Anfang von Beethovens Streichquartett in a-Moll op. 132-Historische musikalische Analyse und Einzelfall.” Werk und Geschichte: musikalische Analyse und historischer Entwurf: Rudolf Stephan zum 75. Geburtstag, Thomas Ertelt, ed. (Mainz: Schott, 2005, ISBN 3-7057-0508-8), 61–77. A detailed, rigorous analysis of the opening notes of the first movement of Op. 132 in a slow tempo and their reappearance a few

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measures later in an allegro tempo with the note values quartered. This is written for advanced theoreticians. 1007. Churgin, Bathia. “Recycling Old Ideas in Beethoven’s String Quartet Op. 132.” Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, László Vikárius and Vera Lampert, eds. (Lanham (MD): Scarecrow Press, 2005, ISBN 0810852977), 249–65. A motivic, rhythmic, dynamic, and formal analysis of the second movement of Op. 132, which should be read by anyone thinking of performing it. 1008. Kirkendale, Warren. “Gregorian Style in Beethoven’s String Quartet Op. 132.” Warren and Ursula Kirkendale, Music and Meaning: Studies in Music History and the Neighbouring Disciplines (Florence: Leo S. Olschki Editore, 2007, ISBN: 9788822256591), 539–43. A brief analysis of the Lydian theme of the slow movement of Op. 132 and the plainchants from which the 5 sections are derived. 1009. Grew, Sidney. “The ‘Grosse Fuge’: The Hundred Years of its History,” in Music and Letters, xii (1931), 140–7. Except for the Joachim and Heckmann (1848–91) Quartets, nobody performed Op. 133 in public from 1825 to 1925 and the score was not readily available to students. Thus it could hardly be analyzed or understood properly. Yet it was continually condemned. Grew explains its history, including the first apparently successful readings by Ferdinand David (1810–73); and he reviews Joachim’s and Heckmann’s performances, the major revival by both the Léner and Brodsky Quartets (1927), and the earliest recording. He points to the continual misunderstanding by important critics, yet appreciation by the average audience. 1010. Grew, Sidney. “The ‘Grosse Fuge’: An Analysis,” in Music and Letters, xii (1931), 253–61. Characterizes Op. 133 as a “sonata fugata.” After admitting the difficulty in finding form in the piece, Grew notes that it consists basically of 3 movements distinguished by tonality B-flat to A-flat to B-flat, with the first similar to exposition, the second similar to development, and the third similar to coda. It is a double fugue that does not follow the rule of double fugues: fugue 1, fugue 2, then combination of 1 and 2. Grew explains the scherzo movements before and after the A-flat movement. 1011. Grew, Sidney. “Beethoven’s Grosse Fuge,” in The Musical Quarterly, xvii (1931), 497–508.

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A summary of the 2 articles in Music and Letters 1009 and 1010. 1012. Scherchen, Hermann. “Beethovens Grosse Fuge opus 133,” in Die Musik, xx (1927–8), 401–20. Reprinted in Gerhard Schuhmacher, Zur musikalischen Analyse, in Wege der Forschung, Band 257 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1974), 161–85. MT 6.S3529Z8. Scherchen contrasts the relationship of law to freedom, and the materials of composition to fantasy, which Beethoven himself states on his score: “Tantôt libre, tantôt recherchée.” He considers the importance of the fugue for Op. 130 as the second part of a dualism that is also apparent in other great works of art by Beethoven and others. But within the fugue the dualism remains: freedom versus law. This is a detailed motivic, rhythmic, and formal analysis of the piece. 1013. Kirkendale, Warren. “The ‘Great Fugue’ Op. 133: Beethoven’s ‘Art of Fugue,’” in Acta Musicologica, xxxv (1963), 14–24. Kirkendale discredits metaphysical and formalistic analyses of Op. 133 and concentrates instead on the composer’s point of departure and intention, which are found in the nature of the counterpoint and in historical, biographical, and philological facts. He looks at Fux and Albrechtsberger, who were Beethoven’s models in fugues, and finds direct sources for Beethoven’s fugue. He also shows how this influence extended to other late works besides Op. 133. This article is scholarly, and well documented, with musical examples. See also 729. 1014. Kirkendale, Warren. “The Great fugue, op. 133: Beethoven’s Art of fugue.” Warren and Ursula Kirkendale, Music and Meaning: Studies in Music History and the Neighbouring Disciplines (Florence: Leo S. Olschki Editore, 2007, ISBN: 9788822256591), 545–61. A thematic analysis of the fugue and a discussion of Beethoven’s fugue technique in light of the fugues and treatises of Albrechtsberger, Marpurg, and J. S. Bach. 1015. Reynolds, Christopher. “The Representational Impulse in Late Beethoven: II: String Quartet in F Major, Op. 135,” in Acta Musicologica, lx (1988), 180–94. Explores the cyclic and circle nature of Op. 135 and compares it to the structure of “An die ferne Geliebte.” Although the quartet is non-representational, its similarity to the song cycle suggests a similar non-musical idea. 1016. Knittel, Kristin Marta. “‘Late,’ Last, and Least: On Being Beethoven’s Quartet in F major, Op.135.” Music and Letters, lxxxvii (January 2006), 16–51.

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Knittel finds that Op. 135 may be Beethoven’s last quartet but it is not a suitable swansong nor even a work worthy of his role as a musical hero. The myth of Beethoven causes us to seek his greatness in the work, but the piece is not true to the myth. It is chaotic. Knittel cites many critics of Beethoven from Marx, Lenz, and Oulibicheff to Dahlhaus, Kerman, and Kramer to prove her point. 1017. Cadenbach, Rainer. “Ende und Abschluss: Überlegungen und textkritische Anmerkungen zu Beethovens letztem Werk op. 135,” in Werk und Geschichte: musikalische Analyse und historischer Entwurf: Rudolf Stephan zum 75. Geburtstag,Thomas Ertelt, ed. (Mainz: Schott, 2005, ISBN 3-7057-0508-8), 79–100. Cadenbach considers 6 reasons why the Op. 135 Quartet may not end in the way Beethoven would have had it end had he lived long enough to see it through publication and numerous performances. He investigates notebooks, sketches, and biographical material including statements by the publisher Schlesinger made 30 years after Beethoven’s death. 1018. Kramer, Jonathan D. “Multiple and Non-Linear Time in Beethoven’s Opus 135,” in Perspectives of New Music, xi, No. 2 (1973), 122–45. Kramer listens to Beethoven’s Op. 135, first movement, on the basis of some modern conceptions of time. For example, free of clock-time (measured time), the Beethoven movement starts with a very strong final cadence (mm. 5–10), after which the contents of the movement are revealed. But there are also 2 other strong cadences (mm. 104–9 and 188–93): the movement has 3 endings—3 times experiencing the same moment of time. Music can be listened to simultaneously as linear (clock) time and as gestural (experience) time. Contemporary life scrambles time in art—a common occurrence—so that we look back on previous art in the same way. Kramer uses Beethoven as a starting point and then goes off into theories about time. 1019. Kramer, Jonathan D. “Postmodern Concepts of Musical Time,” in Indiana Theory Review, xvii (Fall 1996), 25–30. Deals with Beethoven’s Op. 135. 1020. Kramer, L. “Musical Narratology: a Theoretical Outline,” in Indiana Theory Review, xii (Spring–Fall 1991), 150–4. Considers Beethoven’s Op. 135. 1021. Bumpas, L. Kathryn. “Beethoven’s Last Quartet.” PhD dissertation. University of Illinois, 1982. UMI 83–02817. DA xliii.9A, p. 2824. 2 vols. 713 pages.

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A study of Op. 135 that gives biographical information on Beethoven’s last year, his working habits, an analysis of the 4 main manuscript sources and this quartet’s relationship to the other late quartets. 1022. Bumpas, L. Kathryn. “Early Plans for Beethoven’s Last Quartet,” in Beethoven Newsletter,” iii (1988), 1–7. After the string quartets, the most intensely studied chamber music by Beethoven is the violin + piano sonatas. Here, too, the changes in attitudes and methods of study over nearly a century are extensive. 1023. Midgley, Samuel. Handbook to Beethoven’s Sonatas for Violin and Pianoforte. London: Breitkopf & Härtel/The Vincent Co., 1911. MT 145.B422M5. 68 pages. Eloquent rhapsody on the greatness of Beethoven and the sonatas. Midgley has written for the layperson who needs to become superficially acquainted with the pieces. He analyzes each movement from the standpoint of emotive content and principal themes. This is a dated, sometimes inaccurate, brief overview. 1024. Rupertus, Otto. Erläuterungen zu Beethovens Violinsonaten, in Tongers Musikbücherei, Band 7. Köln: P.J. Tonger, 1915. MT 145.B422R8. 3rd improved ed. 1920. MT 145.B42R8.1920. In German. An amateurish description of each movement. Rupertus relates the A minor Sonata Op. 23 to Beethoven’s Immortal Beloved and the Rondo of the Spring Sonata to quiet joy speaking innocently in the sunshine about the spiritual now. 1025. Engelsmann, Walter. Beethovens Kompositionspläne dargestellt in den Sonaten für Klavier und Violine. Augsburg: Benno Filser, 1931. MT 145.B422E7. 208 pages. In German. A highly technical, theoretic book that tries to understand Beethoven’s approach (conscious or unconscious) to multi-movement sonatas from an objective, not subjective, standpoint. It is based on Riemann’s analyses of the piano sonatas and string quartets that show a continual variation or developmental technique of head motives throughout multi-movement works. The analyses of the violin + piano sonatas avoid simple theme by theme description. In the opening chapter, Englesmann reviews various early 20th-century attempts to show unity in classical compositions; he builds on these attempts, but goes in a new direction: “die Einbeziehung des bewusst gestaltenden Willens – Formwillens – als eines ethischen Prinzips.” A single lead motive is the source of each sonata in all its parts, movements and themes. Engelsmann does not cover the sonatas in chronological order but as they fit into the discussion.

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1026. Lockwood, Lewis, and Mark Kroll, eds. The Beethoven Violin Sonatas: History, Criticism, Performance. Champaign: University of Illinois Press, 2004. ISBN 0252029321. vii + 164 pages. A collection of essays: Sieghard Brandenburg, “Beethoven’s Opus 12 Violin Sonatas: On the Path to his Personal Style”; Lewis Lockwood, “On the Beautiful in Music: Beethoven’s Spring Sonata for Violin and Piano, Opus 24”; Richard Kramer, “Sonate, que me veux-tu? Opus 30, Opus 31 and the Anxieties of Genre”; Suhnne Ahn, “Beethoven’s Opus 47: Balance and Virtuosity”; William Drabkin, “The Introduction to Beethoven’s Kreutzer Sonata: A Historical Perspective”; Maynard Solomon, “The Violin Sonata in G major, Op. 96: Pastoral, Rhetoric, Structure”; and Mark Kroll, “As If Stroked with a Bow: Beethoven’s Keyboard Legato and the Sonatas for Violin and Piano.” All the essays are important and reveal much about the structure of the sonatas, their sources, and how to play them. But the most striking essays are those by Solomon, who demonstrates how Beethoven’s last sonata is influenced by new romantic attitudes toward the ideal but unattainable pastoral, and by Kroll, who shows that Beethoven played the piano with his fingers, not his arms, and was able to create a smooth legato on the keyboard by the technique of overlegato. By imitating the legato bowing of the violinist, the pianist makes a better partner when playing chamber music with strings. 1027. Wetzel, Justus Hermann. Beethovens Violinsonaten, nebst den Romanzen und dem Konzert. Berlin: Max Hesse, 1924. MT 145.B425W3. 2 vols, but only Vol. II located. Vol. II: ix + 402 pages. In German. Deals with Sonatas 1–5 and the 2 Romances. Too technical for the layperson, this is designed for the theorist as an alternative kind of analysis to Schenker. It is a purely theoretic, not hermeneutic study; it is concerned with the musical events and not aesthetics. The introduction covers the basic questions of theoretic analysis, followed by analyses of the 5 sonatas and 2 romances. Wetzel complicates a rigid conception of meter and form. He provides detailed charts. Wetzel’s main point in this book is the rhythmic drive of the motives and how these motives form the whole movement and piece; also important is the rhythm of the harmony and the tonal centers. For performance suggestions of the sonatas, see Joseph Szigeti’s The Ten Beethoven Sonatas for Piano and Violin, ed. Paul Rolland 2540 and Marcel Herwegh’s Technique d’Interprétation sous Forme d’Essai … 2541. 1028. D’Aranyi, Jelly. “The Violin Sonatas,” in Music and Letters, viii (1927), 191–7.

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A personal feeling about the Beethoven sonatas, especially Op. 96, by an important violinist. 1029. Johansen, Gail Nelson. “Beethoven’s Sonatas for Piano and Violin, Op. 12, No. 1 and Op. 96: a Performance Practice Study.” DMA dissertation. Stanford University, 1981. DAI xlii.2A, p. 445. 120 pages. Johansen studies principal violin treatises by Beethoven’s contemporaries (Spohr, Baillot, Rode, and Kreutzer) to determine more precisely the form, topic, periodicity, harmony, rhythm, scansion, melody, and texture of these 2 sonatas so as to enable the performer to better realize their “unique character and effect.” She considers new happenings in bow construction and related developments in keyboard music. 1030. Schachter, Carl E. “The Sketches for the Sonata for Piano and Violin, Op. 24,” in Beethoven Forum iii, eds. Christopher Reynolds, Lewis Lockwood, and James Webster (Lincoln: University of Nebraska Press, 1994), 107–25. A detailed analysis of the piece based on the sketches. 1031. Kramer, Richard A. “The Sketches for Beethoven’s Violin Sonatas, Opus 30: History, Transcription, Analysis.” PhD dissertation. Princeton University, 1974. UMI 74–17468. DAI xxxv.2A, 1144–45. 3 vols. 659 pages. A detailed, penetrating study of Beethoven’s sketches in general and sketches for these 3 sonatas in particular. It includes transcriptions. The longer sketches reflect a sense of time that is affected by changes. They reveal the 2 sides of composition: natural, unimpeded, improvisational, and rational, editorial, critical—and how Beethoven juxtaposed both of them. 1032. Obelkevich, Mary Rowen. “The Growth of a Musical Idea – Beethoven’s Opus 96,” in Current Musicology, No. 11 (1971), 91–114. Carefully traces the evolution of this last sonata through 4 different manuscript stages to the final printed version. Obelkevich shows the tune from which Beethoven borrowed the theme for the finale and how he gradually changed it. She considers the different position of the movements and numerous other important details. 1033. Henle, Günther. “Ein Fehler in Beethovens letzter Violin-Sonate?” in Die Musikforschung, v (1952), 53–4. Shows that the “a” in m. 158 of Op. 96, fifth eighth-note, should really be “a-flat.” This is corroborated in Ludwig Misch, “Zur Frage ‘Ein Fehler in Beethovens letzter Violinsonate?’” in Die Musikforschung, v (1952), 367–68.

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The remaining Beethoven chamber music also receives considerable attention. 1034. Szabo, Edward Joseph. “The Violoncello-Piano Sonatas of Ludwig van Beethoven.” EdD dissertation. Columbia University, 1966. UMI 70–12530. DAI xxxi.1A, p. 418. 149 pages. For laypersons, Szabo has provided an historical, analytical, and stylistic examination of the 5 cello sonatas. After a brief history of the instrument’s construction, he offers a measure-by-measure analysis seeking form, melody, rhythm, harmony, tonality, dynamics, and special devices. 1035. Orrego Salas, Juan. “La Obra para Violoncello de Beethoven,” in Revista Musical Chilena, xiv (May–June, 1960), 34–50. In Spanish. Orrego Salas studies the 5 sonatas and 3 sets of variations, first by placing them in the context of Beethoven’s 3 periods and then by comparing them to other works of Beethoven. These are superficial, unoriginal, dramatic analyses. The article will entertain the uninitiated layperson and bore everyone else. 1036. Brandenburg, Sieghard, Ingeborg Maass, and Wolfgang Osthoff (eds.). Beethovens Werke fur Klavier und Violoncello. Bonn Germany: Beethoven-Haus, 2004. ISBN 388188016X. xii + 362 pages. A major musicological study of the written sources and styles of the 5 sonatas and several of the variations by Beethoven for violoncello and piano. It is especially concerned with the autographs and first editions and Beethoven’s corrections. Chapters include: Birgit Lodes, “Beethovens Sonaten für Klavier und Violoncello op. 5 in ihrem gattungsgeschichtlichen Kontext”; Wolfgang Osthoff, “Die Coda des Hauptsatzes der Cellosonate op. 5 Nr. 1 und Beethovens EnsembleKadenzen”; Ingeborg Maass, “Korrekturen in den Autographen die Cellovariationen WoO 45 und 46”; Bernard van der Linde, “Beethoven als Korrekturleser: Die Plattenkorrekturen in den Erstausgaben der Sonaten op. 5 und anderer Cellowerke”; William M. Drabkin, “On Beethoven’s Cello and Piano Textures”; Lewis Lockwood, “Beethoven’s op. 69 Revisited: the Place of the Sonata in Beethoven’s Chamber Music”; Sieghard Brandenburg, “Die Skizzen zu Beethovens Cellosonate op. 69”; Albert Dunning, “Eine wiederaufgefundene Stichvorlage zu Beethovens Cellosonate op. 69”; Albi Rosenthal, “‘Ein Böcklein aus dem Stall’: Beethovens Anmerkungen in einem Exemplar der Erstausgabe von op. 102”; Peter Cahn, “Formprobleme in Beethovens ‘Freyer Sonate’ op. 102 Nr. 1”; Rudolf Bockholdt, “Der letzte Satz von Beethovens letzter Violoncellosonate, op. 102 Nr. 2”; Armin Raab, “Authentische und zweifelhafte Bearbeitungen Beethovens für Klavier und Violoncello”; and Kai Kopp, “Beethovens

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Violoncello: Ein Geschenk der Fürsten Lichnowsky? Zur Provenienz der Streichquartettinstrumente Beethovens”. 1037. Lockwood, Lewis. “Beethoven’s Early Works for violoncello and Pianoforte: Innovation in Context,” in Beethoven Newsletter, i (1986), 17–21. Lockwood points out that Beethoven’s early works, including his chamber pieces, the first 9 violin-piano sonatas, and especially the violoncello-piano sonatas (Op. 5), are masterful in their own right and should not be considered merely as forerunners of his middleand late-period compositions. He notes that Beethoven conceived these sonatas in Berlin and premiered them there with the cello virtuoso Jean Louis Duport, author of a definitive treatise on the violoncello. He also points out that these sonatas broke new grounds both for his new concepts of form and for his manipulation of the violoncello alone and in combination with the piano. 1038. Kempter, Peter Kyle. “Beethoven’s Cello Sonata, Op. 64: A Comparative Study and New Edition of the Sonata Originally Transcribed from the String Trio, Op. 3.” DMA dissertation. University of Houston, 1998. 160 pages. DAI Vol.lix (January 1999), p. 2243A-4A. After a history of this sonata and its derivation from an earlier trio, Kempter justifies his edition of the piece. 1039. Markevitch, D. “A New Beethoven Cello and Piano Sonata,” in Strings, v (1990), 25–6. Deals with Op. 64, a transcription of Op. 3 in E-flat. 1040. Agmon, Eytan. “The First Movement of Beethoven’s Cello Sonata, Op. 69: The Opening Solo as a Structural and Motivic Source,” in The Journal of Musicology, xvi (1998), 394–409. Discusses the generative significance of the opening of this cello sonata for the rest of the movement. 1041. Lockwood, Lewis. “Beethoven’s Emergence from Crisis: the Cello Sonatas of Op. 102 (1815),” in The Journal of Musicology, xvi (1998), 301–22. While recognizing the difficulty of relating the biography of the composer to the intrinsic merits of the composition, Lockwood nonetheless pursues the relationship of Beethoven’s last period compositions (beginning with the 2 last cello sonatas) to the particular “creative and psychological crisis” that Beethoven experienced in the years 1812 to 1815. For discussion of Op. 102, No. 1, see 759.

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1042. Dahlhaus, Carl. “‘Von zwei Kulturen der Musik’: die Schlussfuge aus Beethovens Cellosonate opus 102, 2,” in Die Musikforschung, xxxi (1978), 397–405. An essay on the relationship of Beethoven’s conception of fugue writing, as exemplified in the final movement of this sonata, to the model of fugue writing he learned as a child studying Bach’s WellTempered Klavier. Whereas the model (Bach) is a growing contrapuntal configuration around a ubiquitous theme, the Beethoven example is a development of the theme, which allows irregularities not tolerated in “school-book” fugues. 1043. Hiebert, Elfrieda Franz. “The Piano Trios of Beethoven: An Historical and Analytical Study.” PhD dissertation. University of Wisconsin, 1970. RILM 70–482. UM 70–22652. DA xxxi.10A, p. 5447. 407 pages. Hiebert gives a critical study of the sources of the original, doubtful, and arranged piano trios of Beethoven, a textural study of the piano’s changing roles in the trios, and a practical study of performance problems. This is scholarly, but aimed at performers. 1044. Smith, Robert Ludwig. “A Study of Instrumental Relations: The Piano Trios of Beethoven.” PhD dissertation. Florida State University, 1971. UMI 72–21331. DAI xxxiii.2A, p. 779. Studies the leading and accompanying roles of each instrument in the trios in different stylistic situations: accompanied melody, counterpoint, unaccompanied solo voice, chordal style. Smith also considers tutti, concertino, and solo. He finds that the majority of solo passages goes to the piano. 1045. Kramer, Lawrence. “Beethoven’s ‘Ghost’ Trio and the Wheel of History.” in Phrase and Subject: Studies in Literature and Music, Delia da Sousa Correa, ed. (London: Legenda, W. S. Maney & Son, 2006, ISBN 1-904713076), 73–86. The first and third movements of the “Ghost” Trio (Op. 70, No. 1) have often been referred to as “ordinary” and the middle movement as “extraordinary.” Kramer brilliantly considers what these 2 words “ordinary” (“hiemlich” in German) and “extraordinary” meant to Europeans in 1808 and what they meant or did not mean in regards to the Beethoven trio. This is fundamental reading for anyone who wants to try to understand not only this trio but Beethoven’s music in the general context of European aesthetics and thought. See also 759. 1046. Ong, Seow-Chin Peter. “Source Studies for Beethoven’s Piano Trio in B-flat Major, Op. 97 (Archduke).” PhD dissertation. University

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of California at Berkeley, 1995. DAI Vol. lvii (September 1996), p. 919A-20A. 401 pages. A detailed study of the sketches, autograph, parts, and early prints of the trio in order to understand Beethoven’s process of composition. 1047. Marston, Nicholas. “Schubert’s Homecoming (Beethoven’s Archduke Trio and Schubert’s Sonata for Piano, D. 960).” in Journal of the Royal Musical Association, cxxv (2000), 248–70. 1048. Tan, Christina Cheng-Liang. “Beethoven’s Piano Trio in C Minor, Op. 1, No. 3 and his String Quartet [sic] in C Minor, Op. 104: A Critical and Comparative Study.” DMA dissertation. University of Cincinnati, 1995. DAI Vol. lvi (May 1996), p. 4201A. 93 pages. Using charts, Tan compares the 2 versions measure by measure. 1049. Kinderman, William. “Beethoven’s Unfinished Piano Trio in F Minor from 1816: A Study of its Genesis and Significance.” Journal of Musicological Research, xxv (2006), 1–42. A scholarly study of the sketches and draft of the first movement of a piano trio that Beethoven never finished. Chronologically, it falls in the period of the Op. 101 Piano Sonata, the song cycle An die ferne Geliebte, and the also never-completed sixth piano concerto. Kinderman reproduces the extended but incomplete draft version. He also discusses where the piece fits into the development of Beethoven’s creations and, specifically, those pieces of his in F minor. An audio of the trio, edited by Kinderman, is on the publisher’s online edition of the journal. 1050. Marston, Nicholas. “In the ‘Twilight Zone’: Beethoven’s Unfinished Piano Trio in F Minor.” Journal of the Royal Musical Association, cxxxi (2006), 227–86. A thorough examination of the surviving evidence of a piano trio in F minor started by Beethoven in May, 1816, but never completed. Through exhaustive detective work from Princeton to Berlin to London, various pages of Beethoven’s sketch pages can be reassembled to throw light on the trio’s opening and possible other movements. The would-be trio was started after the Archduke and at the same time as the Op. 101 Piano Sonata. Marston considers the work in light of other piano trios, other works in F minor (most notably Op. 95), and sketches for others works in the same sketchbook. It is an important musicological study. 1051. Engel, Carl. “Beethoven’s Opus 3: An ‘Envoi de Vienne’?” in The Musical Quarterly, xiii (1927), 261–79.

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On a working manuscript of the last movement of Beethoven’s Op. 3 string trio now in the Library of Congress. Engel explains how the Library obtained it, and proceeds to date it in 1793 or 1794 in Vienna, contrary to the dates (by an unknown hand) on the manuscript and in Thayer. 1052. Jennings, Linda Gail. “Structural Integration and Harmonic Progression in Beethoven’s String Trio in C Minor.” DMA dissertation. University of Texas at Austin, 1999. DAI Vol. lx (June 2000), p. 4242A. 84 pages. An analysis of the high energy level of the Op. 9 String Trio in C minor. 1053. Platen, Emil. “Beethovens Steichtrio D-Dur, opus 9 Nr. 2: zum Problem der thematischen Einheit mehrsätziger Formen,” in Siegfried Kross and Hans Schmidt, eds Colloquium Amicorum: Joseph Schmidt-Görg zum 70. Geburtstag (Bonn: Beethovenhaus, 1967), 260–82. ML 55.S35C6. Platen considers a previously unnoticed case of thematic unity in Beethoven’s Trio Op. 9, No. 2. This is a technical, detailed analysis designed for scholars and theorists. The themes and motives used in Op. 9, No. 2, are common to Beethoven’s chamber music in the period 1796–1800 and can be found in Op. 12, No. 1, Op. 14, No. 1, Op. 18, No. 3, Op. 50, and Op. 26. Platen briefly discusses the validity of studying thematic or other forms of unity in multi-movement works. 1054. Altmann, Wilhelm. “Beethovens Umarbeitung seines Streichtrios Op. 3 zu einem Klaviertrio,” in Zeitschrift für Musikwissenschaft, iii (1920–1), 124–58. Altmann discusses the authenticity, dating, and interpretation of a manuscript (apparently in Beethoven’s hand) in which the first movement and part of the second of Op. 3 designates a “cembalo” (in no way a figured bass) over the cello part and adds a new cello line. He assumes the old cello line is the left hand of the “cembalo” and the viola part becomes an improvised right hand; the violin stays the same. 1055. Lockwood, Lewis. “Beethoven as Colourist: Another Look at his String Quartet Arrangement of the Piano Sonata, Op. 14 No. 1,” in Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period: Essays in Honour of Alan Tyson, ed. Sieghard Brandenburg (Oxford: Clarendon Press, 1998), 175–80. Lockwood compares the 2 versions to show how Beethoven, when arranging the sonata for string quartet, re-composed the piece to suit

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the new medium. He cites changes in dynamics and linear writing suitable to strings with their sustaining power. 1056. Toenes, George. “Beethoven Used the Clarinet Often in his Chamber Music Works,” in Woodwind World, i (November 1957), 5. A brief survey of Beethoven’s chamber music including the clarinet. 1057. Voss, Egon. “Prima e seconda prattica? Beethovens Musik für Bläser und ihre Position im Gesamtwerk.” Die Musikforschung, lviii (October–December 2005), 353–60. 1058. Ohlsson, Eric Paul. “The Quintets for Piano, Oboe, Clarinet, Horn and Bassoon by Wolfgang Amadeus Mozart and Ludwig van Beethoven.” DMA dissertation. Ohio State University, 1980. UMI 81–00098. DAI xli.7A, pp. 2823–4. 130 pages. A history, analysis and comparison of Mozart’s K. 452 and Beethoven’s Op. 16 quintets. 1059. Kamien, Roger Jacques. “Conflicting Metrical Patterns in Accompaniment and Melody in Works by Mozart and Beethoven: a Preliminary Study,” in Journal of Music Theory, xxxvii (1993), 311–48. Includes Beethoven’s Quintet for Piano and Winds, Op. 16, in E-flat major. 1060. Otaki, Michiko. “A Comparative Performance Study of the Wind and String Versions of Beethoven’s Opus 16.” DMA dissertation. University of Miami, 1991. DAI Vol. lii (January 1992), p. 2316A. 107 pages. Discussion of the wind and piano quintet and the later string and piano version of the same piece. Otaki shows how the pianist must treat the 2 versions differently, even though the string version is note for note almost identical to the wind version. 1061. MacArdle, Donald W. “Beethoven, Artaria, and the C Major Quintet,” in The Musical Quarterly, xxxiv (1948), 567–74. Artaria published Beethoven’s Op. 29 quintet just as Beethoven wanted it, complete and correct. This is a brief, scholarly account correcting errors in later publications of the quintet. 1062. Tyson, Alan. “The Authors of the Op. 104 String Quintet,” in Alan Tyson, ed. Beethoven Studies, i (New York: W.W. Norton, 1973), 158–73. ML 410.B42T9. ISBN 0-393-02168-8. A scholarly study of Beethoven’s arrangement of his Piano Trio in C minor, Op. 1 No. 3 for string quintet (2 violins + 2 violas + cello).

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Tyson presents the known facts and assumptions on how this piece came into being and then interprets them differently from Thayer and others. The surviving fair copy by Beethoven’s chief copyist is apparently an arrangement of the trio by an unknown Herr Kaufmann, on which Beethoven has made extensive, substantial changes. Therefore, before anyone criticizes Beethoven for some aspect of the printed score, the critic should know what portion of the score is Kaufmann’s and what is truly Beethoven’s effort to make the transcription passable. There remain some difficulties— inconsistencies—for the editor and for performers, some of which are pointed out. Tyson also discusses briefly the early published editions of the score, each with changes, and authenticates the first London edition c.1819. 1063. Burstein, L. Poundie. “Recomposition and Retransition in Beethoven’s String Quintet, Op. 4.” The Journal of Musicology, xxiii (Winter 2006), 62–96. Op. 4 is a recomposition of an entire wind octet from 1793 but published late as Op. 103. The retransitions at the end of the development to the recapitulation and other transitions are the most notable changes; they change from mere seams in Op. 103 to focal points in artistic and poetic expression in Op. 4. 1064. Kramer, Richard. “‘Lisch aus, mein Licht’: Song, Fugue, and the Symptoms of a Late Style,” in Beethoven Forum 7, eds Lewis Lockwood, Christopher Reynolds, and Elaine R. Sisman (Lincoln: University of Nebraska Press, 1999). ML410.B42.B416. Using the sketches of the late works of Beethoven as a starting point, Kramer tries to understand the music of the late period, including the Fugue in Beethoven’s Quintet in D, Op. 137. 1065. Orle, Alfred. “Beethovens Oktett op. 103 und seine Bearbeitung als Quintett op. 4,” in Zeitschrift für Musikwissenschaft, iii (1920–1), 159–79. Despite its late Op. number, Op. 103 was written c.1792 and rewritten (not just transcribed) as quintet Op. 4 not later than February, 1797. Thus the later work will show the extent to which Beethoven developed as a composer during his first few years in Vienna. Since the melodies are basically maintained, the differences are to be found in the overall structure, the expanded dimensions, the increased development, the coda, and the transitions. For example, the first movement of the quintet is 99 beats longer than that of the octet, 27 beats longer in the development, and 47 beats longer in the coda. Orle thoroughly compares the 2 works.

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1066. Wessely, Othmar. “Zur Geschichte des Equals,” in Beethoven-Studien: Festgabe der “Österreichischen Akademie der Wissenschaften zum 200. Geburtstag von Ludwig van Beethoven, in Veröffentlichungen der Kommission für Musikforschung, Heft 11 (Vienna: Hermann Böhlaus Nachf., 1970), 341–60. AS 142.V31.Bd.270. A history of the 3 works Beethoven wrote for trombone quartet while visiting his brother in Linz in 1812. Wessely discusses the various eye-witnesses to Beethoven’s composing them, especially Franz Xaver Glöggl, whose extraordinary career is described and who wrote his account of the episode in a letter to Robert Schumann. One of the Equali was played at Beethoven’s funeral. Wessely considers the liturgical function of the pieces and shows that they are a mixture of pavan and lied. Later, Bruckner had to write such pieces, which belong to an old Linz tradition. Franz Benda 1709–86 For a list of Benda’s chamber music, see Douglas A. Lee, Franz Benda (1709–1786): A Thematic Catalogue of his Works, in Thematic Catalogues, No. 10 (New York: Pendragon Press, 1984), xxii + 221 pages. ML 134. B442A2. 1984. ISBN 0-918-72842-8. 1067. Lee, Douglas Allen. “Some Embellished Versions of Sonatas by Franz Benda,” in The Musical Quarterly, lxii (1976), 58–71. Discusses embellishments of 32 sonatas for violin + bass by Benda found in a large manuscript in Berlin. Variation technique is common, and many sonatas seem intended for pedagogic purposes. The style is transitional from Baroque to Classical. Lee gives biographical information and us Benda’s importance as founder of the North German school of violinists. See Rudolf Zelenka’s “Verzierungsmöglichkeiten in der Violinsonate A-Dur von Frantisek Benda: ein Beitrag zur Entwicklung der Kammermusik in der 1. Hälfte des 18. Jahrhunderts” in 213, pages 62–6. See also 2543. Paul Ben-Haim 1897–1984 1068. Guttmann, Hadassah. The Music of Paul Ben-Haim: a Performance Guide. Metuchen (NJ): ScarecrowPress, 1992. ISBN 0-8108-2551-1. ML410.B44909.1992. 255 pages. An analysis of a few of Ben-Haim’s compositions, including Variations on a Hebrew Melody: Trio for Violin, Violoncello and Piano

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(1939), Quintet for Clarinet and String Quartet (1937), Serenade for Flute and String Trio (1952), and Improvisation and Dance for Violin and Piano (1971). The analyses are unsophisticated for theorists but useful for performers. 1069. Hirshberg, Jehoash. Paul Ben-Haim: His Life and Works. Trl. from Hebrew by Nathan Friedgut, ed. By Bathja Bayer. Jerusalem: Israeli Music Publications, 1990. ISBN 965-259-002-9. ML410.B52H6713. 1990. 455 pages. An excellent biography of Ben-Haim (né Paul Frankenburger), which incorporates both the social and political climates surrounding his life and analyses of his works, including chamber music. Attention is given to when and why the chamber music was written, where and by whom it was performed within the lifetime of the composer, and how it is put together (with some attention to developing an Israeli style). No understanding of Israeli chamber music is complete without a thorough examination of this book. William Sterndale Bennett 1816–75 1070. Bennett, J.R. Sterndale. The Life of William Sterndale Bennett. Cambridge: University Press, 1907. HML 1540.15. xii + 471 pages. A biography by the composer’s son that includes a list of works (pages 455–64), among which are a string quartet, a piano sextet, a piano trio, and a cello + piano sonata. The works are discussed historically in the course of the text. Jörgen Bentzon 1897–1951 Bentzon’s works are catalogued in Mindeskrift over Jörgen Bentzon: 14. Februar 1897/9. Juli 1951 (Udgivet af gamle elever og venner, 1957), HML 1547.15. He wrote 5 string quartets, a sonatina for flute + clarinet + bassoon, and other chamber pieces. 1071. Monsen, Ronald Peter. “A Study of Selected Clarinet Solo and Chamber Music by Jörgen Bentzon: A Basis for Performance and Teaching.” DMA dissertation. University of Wisconsin-Madison, 1978. DAI xxxix.8A, p.4586. 240 pages. A history and biography of the Danish composer. Monsen analyzes performance problems (technique, balance, intonation, tonal matching, projection, articulation, fingerings, range) in 7 works. This is designed for performers, not historians or theorists.

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Niels Viggo Bentzon b.1919 For a catalogue of the works of this Danish composer of 11 string quartets, 7 sonatas for violin + piano, 4 sonatas for cello + piano, 3 piano trios, 2 string trios, 1 piano quartet, 1 piano quintet, many duets, 3 quartets for 4 flutes, a trio for trumpet + horn + trombone, and so on, see Klaus Mollerhoj, Niels Viggo Bentzons Kompositioner: en Fortegnese over Voerkerne med Opusnummer (Copenhagen: Wilhelm Hansen, 1980), ISBN 87-7455-009-8. Alban Berg 1885–1935 1072. Redlich, Hans Ferdinand. Alban Berg: The Man and his Music. London: J. Calder/New York: Abelard-Schuman, 1957. ML 410. B47R35. 316 pages, 185 examples. This definitive biography of Berg is in 3 parts; the chamber music is discussed in Part 2, Chapter 3, pages 49–58, which deals with early works (String Quartet Opp. 3 and 4 pieces for clarinet + piano), and Part 2, Chapter 5, pages 137–54, which deals with the development of serial technique (Lyric Suite). In the Lyric Suite Redlich stresses its structural and aesthetic affinity with Beethoven’s late quartets, Mahler’s Das Lied von der Erde, and Zemlinksy’s Lyric Symphony. He points out direct quotations from Wagner and others and analyzes the serialism in those movements that have it. The early string quartet is in 2 movements, the second acting as a development of the first. Redlich shows here the influence of Schoenberg, Strauss, and Mahler. The clarinet pieces represent Berg as a miniaturist who was rebelling against the “symphony of thousands” syndrome. For a documentary study of Berg’s string quartets, see Ursula von Rauchhaupt, Schoenberg, Berg, Webern 274. See Klaus Lippe’s “Zur Komplexität in Alban Bergs Streichquartett Op. 3” 232 Constantin Floros studies structure and semantics in the ‘Lyrischer Suite” 217. 1073. Porter, Charles Edwin. “Interval Cycles in Alban Berg’s String Quartet Opus 3,” in Theory and Practice, xiv-xv (1989–90), 139–77. Originally, “Interval cycles and symmetrical formations as generators of melody, harmony, and form in Alban Berg’s String Quartet Opus 3.” PhD dissertation. City University of New York, 1989. DAI, 50, No. 08A, (1989): 2297. 246 pages. Schenkerian and non-Schenkerian analysis of the form and interval cycles of the quartet. Porter investigates the placement of themes, with a highly technical approach for music theorists.

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1074. Rockmaker, Jody Darien. “Articulating Form in Alban Berg’s String Quartet, Opus 3: An analysis of the First Movement and the Sketches.” PhD dissertation. Princeton University, 1989. DAI Vol. l (December 1989), p. 1477A-8A. 166 pages. Develops a new theory whereby procedures that determine continuity in Op. 3 evolve from those used in earlier, tonal works by Berg. 1075. Lippe, Klaus. “Zur Komplexitat in Alban Bergs Streichquartett op. 3.” Musik-&-Asthetik, ix (July 2005), 50–68. (Abstract in English). Also published in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, Band 12 (Vienna: Doblinger, 2006, ISBN: 3900695814), 75–91. After discussing the term “complexity” and the struggle between uncontrolled modernism and controlled tradition, Lippe uses the 2-movement 1910 String Quartet by Berg to demonstrate this organized chaos. This is a fascinating explanation of the piece with Adorno’s societal analysis of modern music as a starting point. Most audiences listen to music with predetermined, inherited criteria for what to listen to, but the varied audiences for modern music are themselves so complex that there is no one group of inherited criteria. That puts a burden on the new listener who is alienated and free to hear new criteria. This results in the complexity of modern music, and Berg provides enough options for many different interpretations. In the quartet, the derivation of the motives is complex but more so is the interweaving of the motives, which compensates for the lack of a clear traditional structural logic. 1076. Parish, George David. “Motive and Cellular Structure in Alban Berg’s Lyric Suite.” PhD dissertation. University of Michigan, 1970. UM 71–15262. DA xxxi.12A, p. 6650. vi + 319 pages. A detailed, technical analysis of the rows used by Berg in the Lyric Suite and their effect on the character of the music and its harmony. Parish studies the 4-note cells in linear and vertical positions, and the rhythms of the piece. He is less concerned with form than with the pacing of events in each movement. 1077. Bouquet, Fritz. “Alban Bergs ‘Lyrische Suite’: eine Studie über Gestalt, Klang und Ausdruck,” in Melos, xv (1948), 227–31. A non-technical analysis of this string quartet, which in 1948 was almost totally forgotten in Germany where it had been banned since 1933. With the elimination of symphonic and duet forms, the piece achieves its dramatic lyricism in the heightening expression of each

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movement. Bouquet discusses tonality (F plays an important role), use of the row and its motives, form, and the character of each movement. He notes especially the dynamic linearity of the whole piece. 1078. Brindle, Reginald Smith. “The Symbolism in Berg’s Lyric Suite,” in The Score, No. 21 (October 1957), 60–3. Brindle notes the symbolism of the number 23 in the Lyric Suite. This is evident in a letter Berg wrote to Schoenberg in connection with the Kammerkonzert written just before, where the number 3 was important. The number 23 stands for the number of letters in Zemlinsky’s name (he is the dedicatee) + A.B. Metronome markings and the number of measures in all movements (except the second) are 23 or multiples of 23. 1079. Floros, Constantin. “Das esoterische Programm der Lyrischen Suite von Alban Berg: eine semantische Analyse,” in Hamburger Jahrbuch für Musikwissenschaft, I (Hamburg: Karl Dieter Wagner, 1974), 101–45. Reprinted in Rainer Riehn and Heinz-Klaus Metzger, eds, Alban Berg Kammermusik I, in Musik-Konzepte, Heft 4 (Munich: Musik-Konzepte, 1978), 5–48. Floros justifies a programatic approach as opposed to a pure music one to Berg’s purely instrumental music. He considers specifically the Lyric Suite: the character of each movement, the number symbolism, Zemlinsky’s Lyrischer Symphonie, Wagner’s Tristan Liebestod, and Berg’s autobiography. 1080. Perle, George. “The Secret Programme of the Lyric Suite,” in The Musical Times, cxviii (1977), 629–32, 709–13, and 809–13. German trl. in Rainer Riehn and Heinz-Klaus Metzger, eds, Alban Berg Kammermusik I, in Musik-Konzepte, Heft 4 (Munich: Musik-Konzepte, 1978), 49–74, with a new bibliography. Perle discovers the program of the Lyric Suite. He locates the personal copy of the score that Berg presented to his secret love, Hanna Werfel (sister of Franz), with explanations written in by Berg of the significance of certain elements of form and meter in terms of their hidden love and with poems and verses attached. 1081. Ashby, Arved. “The Lyric Suite and Berg’s Twelve-tone Duality.” The Journal of Musicology, xxv, No. 2 (Spring 2008), 183–210. By scrutinizing Berg’s sketches and autographs for the Lyric Suite, Ashby shows that from the beginning of the conception of the quartet, Berg worked around the idea of a 12-tone technique and thereby produced a hybrid piece: some movements in strict dodecaphonic

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form, others free, and one both. Webern and Schoenberg also have hybrid works, but they reached that point from a different direction. 1082. Chang, Yu-Hui. “A Musical Analysis of Alban Berg’s Second String Quartet: the ‘Lyric Suite.’” PhD dissertation. Brandeis University, 2001. Vol. I: v + 72 pages. Vol. II is an original composition. DAI 62 August 2001 p378A. An analysis of the rows in those movements that use rows and an analysis of atonal techniques in those movements that do not use rows. Chang points out how the entire piece is unified by Berg’s harmony and themes. 1083. Blankenship, Shirley Meyer. “Berg Lines: Opus 3, Lyrische Suite.” DMA dissertation. University of Illinois, 1977. UMI 77–26633. DAI xxxviii.6A, p. 3126. 173 pages. A comparison of Berg’s 2 string quartets. Despite serialism in the Lyric Suite and not in Op. 3, the 2 quartets are stylistically linked. Blankenship compares them to those by Debussy and Schoenberg. Op. 3 was written to express a “type of dramatic conflict associated with classicism,” while “in the Lyric Suite, Berg was preoccupied with the expression of romantic lyricism.” See Michael Coonrod’s dissertation “Aspects of Form in Selected String Quartets of the Twentieth Century” 742. 1084. Tardif, Paul John. “Historical and Performance Aspects of Alban Berg’s Chamber Concerto for Piano, Violin, and Thirteen Winds.” DMA dissertation. Peabody Conservatory, 1976. UMI 77–13163. DAI xxxvii.12A, pp. 7399–7400. v + 210 pages (DAI = 217 pages). A history of the conception and reception of this piece (1923–29) and “a performance guide designed to assist musicians who attempt to play the work,” with comments on tempo, melodic unity, dynamics, and staging. Arthur Berger 1912–2003 1085. Barkin, Elaine. “Post Impressions: Arthur Berger’s Trio for Guitar, Violin & Piano (1972),” in Perspectives of New Music, xvii (1978–9), 23–37. A poetic-prose rhapsody, with allusions to the highly technical structural aspects of the piece. Barkin gives a subjective reaction to notes or phrases. This is quite different from the amateur description of music, since details of structure and outstanding sounds are precisely described in technical musical terms. Extensive musical illustrations

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pinpoint the passages. This is an amazing bit of analysis and description. Luciano Berio 1925–2003 1086. Seither, Charlotte. Dissoziation als Prozess: Sincronie for String Quartet von Luciano Berio. Kassel/New York: Bärenreiter, 2000. ISBN 3-76181466-6. xi + 204 pages. Originally PhD dissertation, Freie Universität Berlin, 1998. An attempt to understand the compositional process by which Berio composed his Sincronie (1963–64) for string quartet. Seither traces the evolution of the piece from initial sketches to the published versions and she analyzes the final version from the perspective of the earlier versions. She finds that it was always a work in progress and, as a composer herself, Seither understands the complexity of the process. This is a detailed study for advanced students. Leonard Bernstein 1918–90 For a catalogue of the chamber pieces by Bernstein, see Jack Gottlieb, Leonard Bernstein: A Complete Catalogue of his Works: Celebrating his 60th Birthday August 25, 1978 (New York: Amberson Enterprises, Inc., 1978), 68 pages. ML 134.B51G7. ISBN 0-913932-40X. 1087. Del Rosso, Charles Francis. “A Study of Selected Solo Clarinet Literature of Four American Composers as a Basis for Performance and Teaching.” EdD dissertation. Columbia University, 1969. UMI 70–4567. DAI xxx.9A, pp. 3969–70. 192 pages. This is written for performers and clarinet teachers. Del Rosso analyzes Bernstein’s Sonata for Clarinet + Piano, Doran’s Sonata for Clarinet + Piano, Dello Joio’s Concertante for Clarinet + Piano, and Copland’s Clarinet Concerto. Antonio Bertali 1605–69 1088. Zink, Gary Don. “The Large-Ensemble Sonatas of Antonio Bertali and their Relationship to the Ensemble Sonata Traditions of the Seventeenth Century.” PhD dissertation. Washington University, 1989. 3 vols. I: iii + 395 pages. II and III (music): 470 pages. Zink gives a biography of Bertali and then a detailed study of the large ensemble sonata from 17th-century Italy and Vienna with specific reference to the works of Bertali. Zink relies heavily on Devario and

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Crocker (with whom he sometimes disagrees). Bertali wrote fewer than 50 such sonatas while he was serving the court in Vienna (compared to hundreds of sacred vocal pieces), and his are less significant than Schmelzer’s. Nonetheless, they represent the mid-17th-century state of such a genre of sonata. Although he spends considerable space on defining the kinds of instruments used and on the structure of sonatas in the 17th century, Zink never makes clear whether or not these large-scale sonatas are for solo or orchestral performance. Giovanni Antonio Bertoli 1598–1645 1089. Urbinato, Joseph Mario. “A Critical Edition and Analysis of Nine Sonatas for Bassoon and Continuo by Giovanni Antonio Bertoli.” MAD dissertation. Boston University, 1969. UMI 71–30020. DAI xxxii.8A, p. 4053. 400 pages. Bertoli’s biography and the possible influence of the solo Venetian instrumentalists on him. Urbinato analyzes the form, harmony, melody, and continuo of the 9 sonatas, which are virtuoso pieces. Franz Berwald 1796–1868 For a list of the chamber works of Berwald, see Erling Lomnäs, ed., Franz Berwald: die Dokumente seines Lebens, supplement to Franz Berwald, Sämtliche Werke, in Monumenta Musicae Svecicae (Kassel: Bärenreiter, 1979), 705–8. 1090. Layton, Robert. Franz Berwald. London: Anthony Blond, 1959. HML 1591.15.48. 194 pages. A biography in which the chamber music is discussed both in terms of where it fits into Berwald’s life and how it demonstrates his stylistic personality. His chamber works include 4 string quartets, 5 piano trios, 1 quartet for piano + winds, 2 piano quintets, a septet, and duos for piano + violin or cello. 1091. Krummacher, Friedhelm. “Nationalmusik als ästhetisches Problem: über Streichquartette von Franz Berwald,” in Musik im Norden: Abhandlung zur skandinavischen und norddeutschen Musikgeschichte, eds. Siegfried Oechsle, Heinrich W. Schwab, Bernd Sponheuer, and Helmut Well (Kassel: Bärenreiter, 1996), 85–98. Originally published as “Det nationella som estetiskt problem: om Berwalds strakkvartetter,” in Hemländsk hundraarig sang”: 1800-talets musik och det nationella, Symposium Göteborg 1993, ed. Henrik Karlsson (Stockholm: Kungl. Musikaliska akademien, Göteborgs universitet, 1994), 185–94.

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Krummacher points out the apparent conflict between pure art forms such as the string quartet and the associations of extra-musical elements as part of nationalism in music. Berwald was considered Swedish by non-Swedes for his supposed non-conformity with German ideals of the string quartet, but in Sweden he was not successful. Krummacher shows that in most areas, Berwald’s 2 mature string quartets conform to Germanic practice, and the only possible Swedish element in his music is in his harmonic progressions. 1092. Peersen, Hild Breien. “Franz Berwald’s Quartet for Piano and Winds: Its Historical, Stylistic, and Social Context.” DMA dissertation. Ohio State University, 2005. ISBN 0496934376. xii + 151 pages. An unpretentious historical and analytical discussion of the quartet, which is placed within the context of Swedish arts at the beginning of the 19th century. Peersen is a clarinetist and a native of Sweden. See also Krummacher’s comparison of Berwald and Gade in 685. Carlo Besozzi 1738–91 1093. Nimetz, Daniel. “The Wind Music of Carlo Besozzi.” PhD dissertation. University of Rochester, Eastman School of Music, 1967. UMI 67–14773. DAI xxviii.8A, pp. 3212–13. 2 vols. 293 pages. A study and edition of 24 sonatas by this Dresden court oboist, 17 of which are for 2 oboes + 2 horns + bassoon; 7 add 2 English horns. They survive in manuscript in Vienna’s Musikfreunde Library, with a microfilm copy in the Sibley Library, Eastman School. Nimetz gives biographical data and analyzes in detail all the sonatas. Heinrich Ignaz Franz von Biber 1644–1704 1094. Dann, Elias. “Heinrich Biber and the Seventeenth Century Violin.” PhD dissertation. Columbia University, 1968. UMI 71–22435. DAI xxxii.3A, pp. 1547–8. 419 pages. Extensive analysis of the style of Biber’s sonatas, the history of violin technique on the all-gut violin, the capabilities of the old straight or slightly arched bow, the various tuning systems, and German polyphonic writing. Dann makes use of a then recently uncovered source of Biber autographs in Kromeriz, Czechoslovakia. 1095. Berger, Christian. “Musikalische Formbildung im spannungsfeld nationaler Traditionen des 17. Jahrhunderts: Das ‘Lamento’ aus Heinrich

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Ignaz Franz Bibers Rosenkranzsonate Nr. 6,” in Acta Musicologica, lxiv (1992), 17–29. Berger describes the concept of a “lament” in the course of Biber’s sonata movement and considers how the idea of a “lament” fits into a purely instrumental, religious suite. Christlieb Siegmund Binder 1723–89 1096. Fleischer, Heinrich. Christlieb Siegmund Binder (1723–1789): mit 74 Notenbeispielen und einem thematischen Verzeichnis sämtlicher Werke, in Forschungsarbeiten des musikwissenschaftlichen Instituts der Universitäts Leipzig, Band 3. Regensburg: Gustav Bosse, 1941. HML 1494.15. Fleischer analyzes scoring, tonal relationships of the movements, and style (still contrapuntal in some, more modern in others) in Binder’s chamber music (trio sonatas for flutes or flute + violin or violins + continuo, 2 string quartets with continuo, 5 obligato trio divertimenti, and so on). Binder is important because his music is in the transition from Baroque to Classical. Fleischer includes a thematic catalogue, with chamber music on pages 141–6. Johann Adam Birkenstock 1687–1733 1097. Ostrow, Isaac M. “The Solo Violin Sonatas of Johann Adam Birkenstock: A Practical Edition.” DMA dissertation. University of Rochester, 1970. 2 vols. I: ii + 49 pages; II: 209 pages of music. Ostrow gives a biography of Birkenstock, a brief account of the soloaccompanied violin sonata in the early-18th century, critical notes, and performance suggestions for Volume II: Birkenstock’s Sonate a Violino Solo e Violoncello o Basso Continuo, Opus I (Amsterdam: 1722). Harrison Paul Birtwistle b.1934 1098. Adlington, Robert. “In the Shadows of Song: Birtwistle’s Nine Movements for String Quartet.” Aspects of British Music of the 1990s, Peter O’Hagan, ed. (Aldershot/Burlington (VT): Ashgate, 2002, ISBN 0754630412), Chapter 4, pages 47–62. Detailed motivic analysis of the unusual Nine Movements for String Quartet, which are to be performed in combination with the song

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cycle Pulse Shadows on poems by Paul Celan. The entire work was first performed in 1996, but since it was composed intermittently, Birtwistle therefore allows that the quartet movements can be performed separately. Adlington interviews Birtwistle about the quartet in Chapter 7 (pages 111–17). Mathieu-Frédéric Blasius 1758–1829 1099. McCormick, Cathy Louise. “Mathieu-Frédéric Blasius (1758–1829): a Biographical Sketch, Catalog of Works, and Critical Performance Edition of the Quatuor Concertant in F, Op. 1, No. 1.” PhD dissertation. Michigan State University, 1983. UMI 84–00600. DAI xliv.10A, p. 2922. 158 pages. McCormick discusses the sociological role of music during a difficult period in French history and the biography of this versatile Alsatian musician. She gives a detailed study of the quartet for clarinet + violin + viola + cello (1782). See also Rau’s dissertation 454. Michel Blavet 1700–768 1100. Bauer, Carla Christine. Michel Blavets Flötenmusik: eine Studie zur Entwicklung der französischen Instrumentalmusik im 18. Jahrhundert, in Hochschulsammlung Philosophie Musikwissenschaft, Band 2. Freiburg: Hochschulverlag, 1981. ISBN 3-8107-2149-2. viii + 239. PhD dissertation. University of Freiburg, 1981. A detailed analysis of Blavet’s sonatas for transverse flute + continuo and 2 flutes without bass, as well as other pieces, which are both pedagogic and at the same time art music; she also considers art music. Bauer considers tempo, inégalité, and ornaments, and also relates these works to the changing aesthetics in France in the 18th century. Arthur Bliss 1891–1975 For a catalogue of works by Bliss, see Louis Foreman, Arthur Bliss: Catalogue of the Complete Works (Sevenoaks [Kent]: Novello, 1980), ISBN 0-85360-069-4, and Supplement to Catalogue of the Complete Works (1982), ISBN 0-85360-116-X. 1101. Blom, Eric. “The Clarinet Quintet of Arthur Bliss,” in The Musical Times, lxxiv (1933), 424–7. A detailed structural analysis.

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Ernest Bloch 1880–1956 For a list of Bloch’s works, including chamber music, see Anon., Ernest Bloch [biography and list of works] (no publishing information) ML 134. B62S3.1960z. For a non-technical introduction to Bloch’s chamber music, see Andrew Porter’s essay in Alec Robertson, ed. Chamber Music 212, and: 1102. Chissell, Joan. “Style in Bloch’s Chamber Music,” in Music and Letters, xxiv (1943), 30–5. A non-technical analysis of Bloch’s music pointing to intuitive forces rather than rational ones in generating his basic sound. Thus we find the “primitive” music of Bali in his Quintet, and the Jewishness of his Baal Shem Suite, Abodah for Violin + Piano, and other works. He uses pentatonic scales (viola suite) and native instruments and dances (quartet piece Tongataboo and Quintet). Chissell considers Bloch’s forms, harmony, rhythm, and color effects. 1103. Jones, William. “Ernest Bloch’s Five String Quartets,” in The Music Review, xxviii (1967), 112–21. An intelligent analysis of melodies and scales in Bloch’s 5 string quartets and of how he moved from a Romantic (No. 1) to neo-Classic (Nos. 2–5) style. 1104. Guibbory, Yenoin Ephraim. “Thematic Treatment in the String Quartets of Ernest Bloch.” PhD dissertation. University of West Virginia, 1970. UMI 71–4849. DAI xxxi.8A, pp. 4199–4200. RILM 76–15534. 443 pages An analysis of the 5 string quartets (1916–56) that reveals cyclic unity and the interrelationship of themes throughout each entire quartet. Guibbory observes “a progression towards greater economy of means and stricter control of form” from nos. 1 to 5. 1105. Rimmer, Frederick. “Ernest Bloch’s Second String Quartet,” in Tempo, No. 52 (Fall, 1959), 11–16. A technical analysis of motivic transformation in what the author believes to be Bloch’s best quartet. 1106. Raditz, Edward. “An Analysis and Interpretation of the Violin and Piano Works of Ernest Bloch (1880–1959).” PhD dissertation. New York University, 1975. UM 76–1750. DA xxxvi.7A, pp. 4099–4100. 230 pages. A Schenkerian analysis (with charts) of Melodie, Baal Shem Suite, Violin Sonata, and Poeme Mystique, with the aim of helping the interpreter.

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1107. Newlin, Dika. “The Later Works of Ernest Bloch,” in The Musical Quarterly, xxxiii (1947), 443–59. Concentrates on the Piano Quintet (1923) and contrasts the music of Bloch and Schoenberg. Luigi Boccherini 1743–1805 For a general, non-technical introduction to Boccherini’s chamber music, see Maurice Lindsay’s essay in Alec Robertson, ed. Chamber Music 212. For a catalogue including chamber pieces, see Yves Gérard, Thematic, Bibliographical and Critical Catalogue of the Works of Luigi Boccherini, trl. Andreas Mayor (London: Oxford University Press, 1969), xix + xv + 716 pages. ML 134l.B63G5. 1108. Lindsay, J. Maurice, and W. Leggat Smith. “Luigi Boccherini (1743– 1805),” in Music and Letters, xxiv (1943), 74–81. An appreciation of Boccherini on the 200th anniversary of his birthday, a biography, and a brief characterization of his works including chamber music. 1109. Le Guin, Elisabeth. “‘One Says that One Weeps, but One Does Not Weep’: Sensible, Grotesque, and Mechanical Embodiments in Boccherini’s Chamber Music.” Journal of the American Musicological Society, lv (Summer 2002), 207–54. An attempt to explain Boccherini’s chamber music in terms of philosophies current in the 18th century. Thus, his extensive use of verbal descriptions of expression in the score is a result of theories of sensibilité, his requirement of unusual registers and sounds for the violoncello reflects ideas of the grotesque, and his mechanical repetitions and physical requirements of the performer stem from Newtonian physics. This is an erudite discussion that elicited, 4 years later, further discussion of 1 unusual term used by Boccherini that he gives in numerous string quintets: “con smorfia” or “smorfioso” (glissando). For more information, see Beverly Jerold, Marco Mangani, and Le Guin herself in “Colloquy,” in Journal of the American Musicological Society, lix (Summer 2006), pages 459–72. 1110. Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley: University of California Press, 2006. ISBN: 0520240170. xxiv + 350 pages. A study of the cello-continuo sonatas of Boccherini and of his string quartets from the viewpoint of a cellist. Le Guin notes 3 rhetorical aspects of any of these works: disposition (conscious composition),

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invention (improvisation) and gesture (the physical actions of the performer while performing, or carnality). In a long, informal monologue (or dialogue), she ambles through the pieces, sometimes with meaningful analysis and historical information, stressing where possible the carnal aspects of the music. A useful CD accompanies the book. 1111. Salvetti, Guido. “Luigi Boccherini nell’Ambito del Quartetto Italiano del Secondo Settecento,” in Friedrich Lippmann, ed. Studien zur italienisch-deutschen Musikgeschichte, No. 8, in Analecta Musicologica, Band 12 (Köln: Arno Volk, 1973), 227–52. Salvetti traces Boccherini’s precedents and the preparation for his first string quartets (Op. 2). Boccherini is not so influenced by the Italian quartetto concertante (Durante and others), which did influence Cambini and Giardini; rather, he bears much more affinity to Alessandro Scarlatti in his “severe” style with its contrapuntal treatment of all 4 instruments without harpsichord. Scarlatti’s example—foreign to both concerto and sonata—leads to the strong expressive and contrapuntal style of Boccherini. He was a great cellist who in his youth (1765) played quartets with Nardini and Manfredi (violins) and Cambini (viola), so that when he wrote his Op. 2, he was thoroughly acquainted with string quartet writing. What is new in Op. 2 is the equality of the instruments with the viola and cello taking a full part in the “dialogue” (pairing not only the 2 violins but also violin with cello or violin with viola). After Op. 2, Boccherini went to Paris, where, in order to publish, he had to relinquish his severe style and follow the concertante mode in fashion there (albeit not entirely: Op. 8, Nos. 4 and 6 still retain the equilibrium of Op. 2). Salvetti discusses the relationship of the other quartets to Op. 58, his last collection. At the time, Viotti had created the quartetto brillante—excessive first violin virtuosity—but Cambini and Giardini never went that far and Boccherini stayed much closer to them. Salvetti shows how Boccherini kept his individuality even from Cambini and Giardini, and much more from Haydn and Beethoven (the connections with Mozart need further study). 1112. Parker, Mara Emily. “Luigi Boccherini and the Court of Prussia,” in Current Musicology, No. 52 (1993), 27–37. Parker shows that while serving the King of Prussia from 1786 to 1797 as a composer of chamber music, Boccherini wrote on paper made in Spain and, therefore, probably was living in Spain. 1113. Bonaccorsi, Alfredo. “Luigi Boccherini e il Quartetto,” in Adelmo Damerini and Gino Roncaglia, eds, Musiche Italiane Rare e Vive da

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Giovanni Gabrieli a Giuseppe Verdi (Sienna: Accademia Musicale Chigiana, 1962), 301–6. ML 290.D29. Bonaccorsi considers the relationship of “expression” to “form” and the ideal of the string quartet as “a happy equilibrium, a harmony and fusion of its parts as sound and as an amalgamation of sound.” He finds Boccherini always true to his style, whether in slow cantabile or very rapid tempo. This style is characterized by a significant and healthy rhythm, by harmonious, light embellishments and by a clear, bright atmosphere. The problem is in getting to know the works of Boccherini, which are still largely unpublished in a modern edition. Bonaccorsi analyzes the quartettinos and quintets, but not the quartets. He closes with a plea for an edition of Boccherini’s works so that the historian can properly judge Italian quartet history. 1114. Speck, Christian. “Über Zusammenhänge zwischen thematischer Arbeit und metrischer Reguliertheit des musikalischen Baus in der Streichquartett – komposition von Luigi Boccherini.” Ad Parnassum, iii (April 2005), 7–22. Abstract in English on page 141. After a general overview of the stylistic traits of the 91 string quartets written by Boccherini between 1761 and 1804, Speck analyzes the allegretto from one quartet, Op. 33, No. 2. Unlike Haydn’s and Mozart’s works, Boccherini’s quartets are usually in 2 or 3 movements, with almost unvarying 2- or 4-beat groups, with themes that do not lend themselves to development. While he established the concertizing quartet style popularized in Paris by Cambini, Boccherini’s quartets always have been overshadowed by the Viennese quartets. 1115. Smith, Alan Michael. “A Performance Edition and Historical Documentation of an Unpublished Cello Sonata in E-flat Major by Luigi Boccherini.” DMA dissertation. University of Texas, 1977. DAI xxxviii.7A, p. 3797. 106 pages. Smith proposes that the bass of this sonata (No. 9) be performed by a second cello or double bass. He compares cello performance practices of the 18th and 20th centuries and discusses the cello sonatas of Boccherini and their contribution to cello literature. 1116. Tchernowitz-Neustadtl, Miriam. “Aspects of the Cycle and Tonal Relationships in Luigi Boccherini’s String Trios,” in Chigiana, xliii (1993), 157+. 1117. Amsterdam, Ellen Iris. “The String Quintets of Luigi Boccherini.” PhD Dissertation. University of California, 1968. RILM 69–1008. DAI xxx.3A, pp. 1191–92. iv + 177 pages.

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The quintets for 2 cellos are especially successful as concertante pieces demonstrating Italian lyricism, Spanish rhythmic vitality, French string technique, and German counterpoint. Amsterdam studies stylistic and formal features of all the string quintets (including the few that are not for 2 cellos but for 2 violins + viola + cello + bass) and compares them to those by Brunetti and Cambini. 1118. Keller, Hans. “Mozart and Boccherini: A Supplementary Note to Alfred Einstein’s Mozart: his Character – his Work,” in The Music Review, viii (1947), 241–7. Discusses the influence of Boccherini’s Quintet in C on several Mozart pieces (including the Violin + Piano Sonata in D, K. 306). 1119. Salvetti, Guido. “I Sestetti di Luigi Boccherini,” in Chigiana: Rassegna Annuale di Studi Musicologici, xxiv (1967), 209–20. Salvetti establishes the historical and aesthetic bases for Boccherini’s sextets. He analyzes the forms, harmony and rhythm of sextets Opp. 15, 24, and 42 and notes their greater diversity in timbre than trios or quartets (Boccherini mixes winds and strings in all 3 sextets). 1120. Gándara, Xosé Crisanto. “The double bass in the chamber music of Luigi Boccherini.” Bass World, xxvi (June-September 2002), 8–9+. See also Gándara’s article “Algunos aspectos sobre el contrabajo en la música de Luigi Boccherini.” Revista de Musicología, xxiii (2000), 443–64. Seóirse Bodley b.1933 1121. Cox, Gareth. “An Irishman in Darmstadt: Seóirse Bodley’s String Quartet No. 1 (1968).” Irish Music in the Twentieth Century, in Irish Music Studies, Vol. 7, Gareth Cox and Axel Klein, eds. (Dublin/ Portland [OR]: Four Courts, 2003, ISBN 1851826475), 94–108. A technical analysis of Bodley’s quartet. Bodley worked in Darmstadt in the 1960s and this piece reflects his most modernist style from which he wandered later on. Cox includes a brief list of important post World War II Irish quartets. Joseph Bodin de Boismortier 1689–1755 1122. Peterman, Lewis Emanuel. “The Instrumental Chamber Music of Joseph Bodin de Boismortier with Special Emphasis on the Trio Sonatas for Two Treble Instruments and Basso Continuo.” PhD dissertation.

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University of Cincinnati, 1985. UMI 85–18112. DAI xlvi.6A, p. 1437. 1017 pages. Peterman examines 47 of the 51 extant chamber music publications of Boismortier, an extremely productive composer of chamber music, most of it for flute with other instruments. He transcribes and analyzes the 40 surviving trio sonatas for 2 treble instruments + continuo, and “analyzes” in charts the more than 1,300 movements of chamber music examined. This is a brief summary of Parisian musical life in the first half of the 18th century and Italian influences on it. It lists modern as well as original editions. 1123. Burden, Ross Patrick. “The Wind Music of Joseph Bodin de Boismortier (1689–1755).” DMA dissertation. University of Iowa, 1971. RILM 72–1613. UM 71–30406. DA xxxii.5A, p. 2726. x + 262 pages. Burden considers French wind music of the first half of the 18th century and discusses Boismortier’s life and style in a few individual pieces. This dissertation contains a thematic index of the wind music and a list of his other works. 1124. Buyse, Leone Karena. The French Rococo Flute Style Exemplified in Selected Chamber Works of Joseph Bodin de Boismortier (1689–1755), in The Emporia State Research Studies, xxvii, No. 4. Emporia (Kansas): Emporia State University, 1979. ML 410.B693B9. 25 pages. MA thesis. Buyse notes Boismortier’s unusual preference for the transverse flute, though he was no flute player himself. She gives a history of the instrument, a look at France and the Rococo style, and consideration of his special contributions. She analyzes 3 works: Sonata Op. 7 No. 5 (3 flutes), Concerto Op. 15 No. 2 (5 flutes)—in both cases without bass or any other instrument—and Concerto Op. 37 No. 6 (flute + violin + oboe + bassoon + continuo). Numerous French flutists in the first half of the 18th century are discussed. This is a brief biography that contrasts French and Italian styles. Buyse is a flutist in the San Francisco Symphony. Giovanni Maria Bononcini 1642–78 1125. Klenz, William. Giovanni Maria Bononcini of Modena: A Chapter in Baroque Instrumental Music. Durham (NC): Duke University Press, 1962. 921 B719K64. 184. viii, music (312 pages). Originally “Giovanni Maria Bononcini: A Chapter in Baroque Instrumental Music.” PhD dissertation. University of North Carolina, 1958. UMI 59–50. DA xix.11, pp. 2972–73. 575 pages.

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A brief discussion of the sonatas da camera and da chiesa of Bononcini and an edition of them. Klenz includes a cultural and social history of pre-Corelli sonatas. He notes his importance at the Este Court in Modena and his relationship to foreign courts and Bologna. Francesco Antonio Bonporti 1672–1749 1126. Harris, Brian Lorne. “The Published Trio Sonatas of Francesco Antonio Bonporti (1672–1748).” PhD dissertation. University of Washington, 1980. UMI 80–13532. DAI xl.12A, p. 6060. 572 pages. Harris gives a history of the trio sonata to the 1690s, Bonporti’s biography (Harris and Slonimsky differ on the date of death), a list of works, early sources for the 40 trio sonatas 1696–1705, styles of the da chiesa and da camera sonatas, and an edition of the 40 sonatas (appendix). Bonporti was a pupil of Corelli. Alexander Porfirievitch Borodin 1833–87 1127. Abraham, Gerald. “The Chamber Music Works,” in Borodin: the Composer and his Music (London: William Reeves, [1929]), 119–43. ML 410.B73A4. For the informed layperson and student, this is an analysis of all Borodin’s chamber music: 2 string quartets, another isolated string quartet movement on the name Belaiev, and an arrangement for string quartet of the scherzo to the incomplete third symphony. Abraham emphasizes thematic material, color effects derived from harmony, and the peculiarities of the instruments in the 2 complete quartets. While the first quartet has many clever technical achievements, the second is a perfect lyrical masterpiece (at least in the first 3 movements) where the structural achievements are there because they are a natural part of the lyricism. Abraham draws parallels with Beethoven. 1128. Solovtsova, Liubov’ Andreevna. Kamerno-Instrumental’naia Muzyka A.P. Borodina. Moscow: Gos. Muzykalnoe Ejd-vo, 1952. MT 145. B7S6. 76 pages. In Russian. Solovtsova analyzes for the layperson Borodin’s 2 string quartets, trio, quintet, and melancholy suite. Solovtsova points out the polyphonic and orchestral character of the quartets, but mostly talks about emotions. This is a description of Russian chamber music in the 19th century and Borodin’s place in this.

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1129. Golovinskij, Grigorij. Kamerne Ansembli Borodina. Moscow: Muzyka, 1972. RILM 72–514. 310 pages. In Russian. “An analysis of stylistic development in the chamber music of Borodin. Discusses the relationship of his chamber works to their era with special reference to the general development of chamber music.” 1130. Poray-Kuczewski, Kasimir. “Die Orchesterwerke und Streichquartette Alexander Borodins.” PhD dissertation. University of Vienna, 1935. 1131. Garden, Edward. “The ‘Programme’ of Borodin’s Second Quartet,” in The Musical Times, cxxviii (February 1987), 76–8. Pierre Boulez b.1925 1132. Baron, Carol K. “An Analysis of the Pitch Organization in Boulez’s ‘Sonatine’ for Flute and Piano,” in Current Musicology, No. 20 (1975), 87–95. Baron analyzes the row Boulez uses in this piece and how he derives themes or motives from it. William Boyce 1710–79 For a comparison of Boyce’s and Arne’s trio sonatas, see Stanley Sadie’s article 773. Brain Boydell 1917–2000 1133. Cox, Gareth. “Octatonicism in the String Quartets of Brain Boydell,” in Irish Musical Studies: 4: The Maynooth International Musicological Conference 1995, Selected Proceedings: Part One, eds, Patrick F. Devine and Harry White (Dublin: Four Courts Press, 1996), 263–70. ISBN 1-85182-260-7. Analysis of the quartets of Boydell. Martin Boykan b.1931 1134. Harbison, John, and Eleanor Cory. “Martin Boykan: String Quartet (1967): Two Views,” in Perspectives of New Music, xi, No. 2 (1973), 204–9. Followed by the complete score. Harbison responds subjectively to hearing the score on different occasions, with specific remarks on pitch, rhythm, and polyphony.

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Cory analyzes pitch, phrase, cadences, and gesture in detail; she finds a chromatic hexachord as the basic structural material. Johannes Brahms 1833–97 For a catalogue of Brahms’s chamber music, see Margit L. McCorkle, Johannes Brahms: thematisch-bibliographisches Werkverzeichnis (Munich: G. Henle, 1984), systematic index pages 773–74, 777, and 779. ML 134. B8M3.1984. ISBN 3-87328-041-8. Heather Platt, Johannes Brahms: A Guide to Research. New York: Routledge, 2003. ISBN 0815338503. 1135. Botstein, Leon, ed. The Complete Brahms: A Guide to the Musical Works of Johannes Brahms. New York: Norton, 1999. ISBN 0-393-04708-3. ML410.B8C64. Part II (pages 87–147) is a collection of short analyses of each of Brahms’s chamber music works by various authors. 1136. Drinker, Henry Sandwith. The Chamber Music of Johannes Brahms. Philadelphia: Elkan-Vogel, 1932. MT 145.B72D8. First reprint Westport: Greenwood Press, 1974. MT 145.B72D8.1974. ISBN 0-8371-6941-0. Second reprint Wilmington: International Academic Publishing Co., 1979. MT 145.B72D8.1979. v + 130 pages. Program notes for a performance of all Brahms’s chamber music in Philadelphia in 1933. Drinker gives an assessment of the man and his music, a tabluation of his works, and an essay on the principal characteristics of his style. He provides much historical data on the composition of the pieces, a brief, non-technical summary of the emotional events of the movements, a few rhythmic peculiarities, and parallels in other works. 1137. Mason, Daniel Gregory. The Chamber Music of Brahms. New York: MacMillan, 1933. Reprint Freeport (New York): Books for Libraries Press, 1970. Reprint New York: AMS Press, 1970. MT 145.B425M35. xiii + 276 pages. Thorough description of all the chamber music, in chronological order but without any history. Mason places his emphasis on texture, rhythm, melodic motives, and tonal centers but not on any detailed harmonic or formal analyses. He briefly pictures Brahms as the simple, direct, unaffected man, a romantic but unsentimental genius, and a thoughtful composer, whose chamber music reflects all these characteristics. Mason discusses much of Brahms’s chamber music in a series of articles in The Musical Times, lxxiii (1932), and lxxiv (1933).

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1138. Colles, Henry Cope. The Chamber Music of Brahms, in The Musical Pilgrim. London: Humphrey Milford for Oxford University Press, 1933. MT 145.B72C6. Reprint: New York: AMS Press, 1976. MT 145.B72C6.1976. ISBN 0-404-12884-X. 64 pages, 22 musical examples. These were originally program notes for concerts by the Isolde Menges String Quartet, Harold Samuels and assisting artists, in 1933; they have been revised for the book. Colles gives a brief history of Brahms’s chamber music including discarded or later-revised works, with a discussion of each piece in chronological order. He writes well for the layperson: he gives cogent analyses of rhythm, form, melodic motives, and harmony, and the book is full of cross references to other compositions by Brahms. 1139. Keys, Ivor Christopher Barfield. Brahms Chamber Music, in BBC Music Guides, No. 26. London: BBC/Seattle: University of Washington Press, 1974. MT145.B72K5.1974b. 68 pages, 36 examples. A non-technical discussion, for the layperson, of the principal chamber works. 1140. Kempski-Racoszyna-Gander, Irina von. “Johannes Brahms Kammermusik.” PhD dissertation. University of Freiburg in Br, 1988. 1141. Wilson, Conrad. Notes on Brahms: 20 Crucial Works. Grand Rapids (MI): William B. Eerdmans Pub. Co., 2005. ISBN: 0802829910. xii + 121 pages. A very short historical discussion of each of twenty works by Brahms, including the following chamber music: Piano Trio in B major, Op. 8; String Sextet in B flat major, Op. 18; Piano Quintet in F minor, Op. 34; Trio for Horn, Violin and Piano in E flat major, Op. 40; String Quartet No. 1 in C minor, Op. 51, No. 1; Sonata No. 1 in G major for Violin and Piano, Op. 78; Trio in A minor for Clarinet, Piano and Cello, Op. 114; Quintet in B minor for Clarinet and Strings, Op. 115; and Sonata in F minor for Clarinet and Piano, Op. 120, No. 1. A few recordings are discussed. Wilson includes a brief bibliography and glossary. This book is designed for the novice. See Peter Lathan on Brahms’s chamber music in Alec Robertson, ed. Chamber Music 212. 1142. Antcliffe, Herbert. “Chamber Music of Brahms,” in Monthly Musical Record, xxxvi (July, 1906), 146–7. Antcliffe reviews for the layperson Brahms’s chamber music and points out its importance to his total output. He considers briefly the

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role of the piano, and Brahms’s unique position as the bridge between the classical past (Beethoven) and the uncertain future. 1143. Evans, Edwin. Handbook to the Chamber and Orchestral Music of Johannes Brahms: Historical and Descriptive Account of Each Work with Exhaustive Structural, Thematic and Rhythmical Analyses, and a Complete Rhythmical Chart of Each Movement, Copiously Illustrated in Music-Type: Complete Guide for Student, Concert-goer and Pianist. London: William Reeves, [1912]. Facsimile reprint in Burt Franklin: Research and Source Works Series 557. New York: Lenox Hill (Burt Franklin), 1970. ML 410.B8E82.1970. ISBN 0-8337-10885. viii + 304 pages, 435 examples. Arranged by opus number, each piece has a complete chapter. There are some historical data and comments by Brahms and/or others on a particular work, and analyses of each movement with special emphasis on rhythm, the lengths of phrases, sections, and movements, and motivic and tonal organization. This is not particularly useful for performers and uninitiated concert-goers, despite the title. It is dry, longwinded, technical reading. Evans shows how original and effective Brahms was in his treatment of phraseology and rhythm and defends him against attacks by those who find fault with these 2 elements of his style. 1144. Brahms, Johannes. Die Kammermusik von Johannes Brahms: Tradition und Innovation: Bericht über die Tagung Wien 1997, Gernot Gruber, ed. Schriften zur musikalischen Hermeneutik, viii. Laaber: Laaber-Verlag, 2001. ISBN 3-89007-509-6. This is one of the most important collections of studies of Brahms’s chamber music in general and of specific works as well, by the most important scholars of Brahms at the end of the 20th century. The work commemorates the centennial of Brahms’s death: 1997. The contents include: Imogen Fellinger, “Welche Bedeutung hatte die Kammermusik im Leben von Brahms?” (pages 11–25); Friedrich C. Heller, “Johannes Brahms und die Ringstrassen-Ära” (pages 27–35); Manfred Wagner, “Theorie und Ästhetik der Musik im Wien des 19. Jahrhunderts” (pages 37–46); Otto Biba, “Die Kammermusik im Wien der Brahmszeit” (pages 47–62); Wolfgang Röd, “Tradition und Innovation in der Sicht der Philosophie” (pages 63–80); Moritz Csáky, “Geschichtlichkeit der Lebenswelt: Bemerkungen zu den intellektuellen und sozialen Voraussetzungen des Historismus” (pages 81–94); Peter Kuon, “Traditionsbruch: literarhistorische Anmerkungen zur mittelalterlichen und zur modernen Politik” (pages 95–106); Wolfgang Gratzer, “Musik und Tradition” (pages 107–20); Hartmut Krones, “Zum Begriff der ‘Kammermusik’ in nachklassicher Zeit bis

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zum Tod von Johannes Brahms” (pages 121–38); Gottfried Scholz, “Zu Johannes Brahms: Klaviertrio in H-Dur op. 8” (pages 139–48); Michael Kube, “Brahms’ Streichsextette und ihr gattungsgeschichtlicher Kontext” (pages 149–74; includes a selected list of string sextets from the late-18th century to 1918); Marie-Agnes Dittrich, “Tradition und Innovation im Klavierquintett in f-Moll op. 34” (pages 175–85); Gerold W. Gruber, “Johannes Brahms, Sonate für Klavier und Violoncello op. 38: zwischen Tradition und Innovation?” (pages 187–93); Peter Revers, “Tradition und Innovation im Trio für Violine, Horn und Klavier in Es-Dur op. 40 von Johannes Brahms” (pages 195–212); Friedhelm Krummacher, “‘Musterstücke Ihrer Gattung’? Zu den Quartetten op. 51 von Brahms” (pages 213–32); Siegfried Mauser, “Violinsonate in A-Dur op. 100” (pages 233–43); Josef-Horst Lederer, “Werkidee und harmonisches Modell: Zum 1. Satz von Brahms’ Klaviertrio in c-Moll op. 101” (pages 245–56); Gernot Gruber, “Streichquintett op. 111” (pages 257–74); Christian Martin Schmidt, “Das Klarinettenquintett op. 115: Oder: von der nicht entwickelnden Variation” (pages 275–83); Rainer Boestfleisch, “Überlegungen zum ersten Satz der Klarinettensonate op. 120/1 von Johannes Brahms” (pages 285–306); and Elmar Budde, “Schlussdiskussion” (pages 307–16). 1145. Dahlhaus, Carl. “Brahms und die Tradition der Kammermusik,” in Die Musik des 19. Jahrhunderts (Wiesbaden: Akademische-Verlag Ges. Athenaion, 1980), 210–17. English translation (Berkeley: University of California Press, 1989), 252–62. See ML196.D2513.1989. 1146. Daverio, John Joseph. “Brahms and the Romantic Imperative,” in Nineteenth Century Music and the German Romanic Ideology (New York: Schirmer Books, 1993), 144–54. A detailed analysis of the adagio movement of the G-major String Quintet Op. 111. While ostensibly in variation form, it differs from the usual variations of Brahms in that the theme is more complicated than usual and the subsequent variations make changes in the syntax of the theme and introduce rhapsodies. See also Margaret Notley’s “Discourse and Allusion: The Chamber Music of Brahms” 215. For the acceptance of Brahms’s chamber music in Russia in the late-19th century, see 626. 1147. Sherlock, Andrea Elizabeth. “Brahms and Schubert: an Examination of Influence in the Chamber Music of Johannes Brahms.” MA thesis. University of Western Ontario, 1990. 1148. Kohlhase, Hans. “Brahms und Mendelssohn: strukturelle Parallelen in der Kammermusik für Streicher,” in Hamburger Jahrbuch für

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Musikwissenschaft, vii, Brahms und seine Zeit (Hamburg: Laaber, 1984), 59–85. Brahms and Mendelssohn wrote music, not words. They were not eager for vituosic fame; they were highly self-critical, and had the same high regard for Bach, Handel, and Beethoven without deprecating Mozart and Haydn—all of this was unusual for the 19th century. Kohlkase seeks to discover whether these similarities carry over into their string chamber music with similar structures. 1149. Becker, Heinz. “Das volkstümliche Idiom in Brahmses Kammermusik,” in Hamburger Jahrbuch für Musikwissenschaft, vii, Brahms und seine Zeit (Hamburg: Laaber, 1984), 87–99. Becker shows the continual importance of folkmusic for Brahms and specifically in his chamber music with melodies beginning with the subdominant up to tonic and then to supertonic. 1150. Brand, Friedrich. Wesen und Charackter der Thematik im Brahmsschen Kammermusik. Berlin: Deutsche Brahms-Gesellschaft, 1937. ML 410.B8B7. xii + 155 pages, 120 examples. “Das Wesen der Kammermusik von Brahms.” PhD dissertation. Berlin, 1937. A thematic analysis of the chamber music. Brand characterizes firstmovement themes, second-movements themes, and so on. He finds 2 kinds of opening themes in the first movement of all periods: the symphonic (dynamic at the start) and the sonata-like (cantabile at the start), with a few works that mix the 2. He also notes Hungarian and gypsy elements, and continually compares Brahms’s themes with those of Beethoven, Mendelssohn, Schumann, Reger, Bartók, and others. Brand considers the accompaniment to the themes. This is dryly written for students, theorists, and performers who already know the music. 1151. McClelland, Ryan C. “Tonal Structure, Rhythm, Meter, and Motive in the Scherzo-Type Movements of Brahms’s Chamber Music with Piano.” PhD disseration. Indiana University, 2004. DAI, lxv (November 2004), p1588A. xiii + 320 pages. McClelland offers a Schenkerian analysis of rhythm, harmony and melodies in the scherzos of Brahms’s duos, trios, quartets, and quintet with piano, with a recognition of Carl Schachter’s distinction between tonal and durational rhythm. At the end, he suggests how these analyses can assist the performer in deciding on phrasing and timing. 1152. Kim, Susan Lee. “Rhythmic Development in the Motivic Process of Brahms’s Chamber Works.” PhD dissertation. University of California,

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Santa Barbara, 2003. DAI, lxiv (December 2003), p1897A-8A. x + 286 pages. Previous analyses of Brahms’s chamber music concentrate on motivic development and ignore rhythmic development. This is true of both Schenker and Schoenberg. Kim shows that Brahms also develops rhythmic motives. She demonstrates this in single movements from 7 pieces of chamber music: the A minor and C minor String Quartets, the C minor and G minor Piano Quartets, the E minor and F major Violoncello Sonatas, and the Piano Trio in C minor. 1153. Fenske, David Edward. “Texture in the Chamber Music of Johannes Brahms.” PhD dissertation. University of Wisconsin, 1973. RILM 73–580. UM 73–28915. DA xxxiv.10A, pp. 6684–85. 540 pages (DAI = 546 pages). Fenske defines closely the various components of texture in Brahms’s chamber music: tessitura, range, gap between parts, double-stopping, rhythmic activity, and instrumentation. He gives statistics as well as narratives of Brahms’s music. Fenske uses a lot of effort to prove what every performer of Brahms’s chamber music already knows: the widest range and tessitura is in the piano, the vertical density excedes the norm approximately 8% of the time, the densest concentration occurs 40% of the time, the uppermost parts are more contrapuntal than the lowest, and the inner parts have percentages that are similar to the upper parts. 1154. Czesla, Werner. Studien zum Finale in der Kammermusik von Johannes Brahms. Bonn: Rheinische Friedrich-Wilhelms-Universität, 1968. MT 145.B72C9. 252 pages. Inaugural dissertation. Rheinische FriedrichWilhelms Universität in Bonn, 1966. Czesla analyzes the finales of 2 quartets, 2 string quintets, the horn trio, 2 piano quartets, 2 piano trios, 2 sextets, the piano quintet, the cello sonata and 3 piano sonatas. He considers motivic-thematic treatment and form (for example, how Brahms treats development and recapitulation sections) and the fact that Brahms’s music is more organically unified than anyone else’s. He considers also the introductions to finales, and in all cases the organic growth of themes from one part to another. Although Schenker figures prominently in the bibliography, Czesla uses Schenkerian analysis only superficially. 1155. Breslauer, Peter Seth. “Motivic and Rhythmic Contrapuntal Structure in the Chamber Music of Johannes Brahms.” PhD dissertation. Yale University, 1984. Based on Schenkerian principles, Breslauer determines “the parts played by chromatic diminution and the bass” in the contrapuntal

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structure of Brahms’s chamber music. This theory is then applied to the Piano Quartet Op. 25, the String Quartets Op. 51, and the Clarinet Quintet Op. 115, movement 2. 1156. Smith, Peter H. “You Reap What You Sow: Some Instances of Rhythmic and Harmonic Ambiguity in Brahms.” Music Theory Spectrum, xxviii, No. 1 (Spring 2006), 57–97. A technical discussion of the ambiguities in structural analyses of several passages in the works of Brahms, with special focus on the Piano Quartet Op. 60, the Clarinet Trio Op. 114, and the String Quintet Op. 111. Smith considers harmonic and metric ambivalences. He also discusses these issues in the Double Concerto and the B-minor Piano Rhapsody. 1157. Moseley, Roger Scott. “Brief Immortality: Recasting History in the Music of Brahms.” PhD dissertation.University of California, Berkeley, 2004. ISBN 0496053078. 336 pages. A fascinating, intelligent discussion of the young Brahms as performer and the later Brahms as composer. To demonstrate the contrast between the younger and the older Brahms, Moseley compares the 2 versions of the Piano Trio Op. 8 (1853 and 1889). In this discussion, Moseley considers Brahms’s attitudes toward history and posterity, toward musicology and politics, and toward musical representation and pure music. The analyses are detailed. Eventually, Moseley turns to the Second String Quintet, Op. 111 as a piece that Brahms wrote with immortality and posterity in mind. 1158. Reiter, Elisabeth. Der Sonatensatz in der späten Kammermusik von Brahms. Einheit und Zusammenhang in variativen Verfahren. Würzburger musikhistorische Beiträge, No. 22. Tutzing: Hans Schneider, 2000. ISBN 3795210038. 345 pages. After an intensive discussion of the differences between the earlier conception of sonata form based on tonal contrast and Brahms’s conception of it based on continual thematic or motivic variation, Reiter takes the first movements of 9 late chamber works by Brahms and analyzes in detail how he carries out his conception in the expositions, the developments, and the recapitulations and codas. In an appendix, Reiter diagrams each of the 9 movements from operas 99–101, 108, 111, 114, 115, 120.1 and 120.2. Each movement offers its own solution to a fundamental problem of how to achieve unity and continuity when there is continual variation. This study was preceded by the author’s dissertation on the same question in late piano works by Brahms and follows from theories put forth by Arnold Schoenberg, Carl Dahlhaus, and others. This is an important source for any future serious analyses of these chamber pieces.

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1159. Notley, Margaret. Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism. Oxford/New York: Oxford University Press, 2007. ISBN: 0195305477. vi + 245 pages. This is a broad discussion of the last 15 years of Brahms in Vienna as a member of the midde-aged and middle-class liberalism that was being edged out by modernism—reason being ousted by Freudian emotionalism. Brahms was deemed a chamber music composer catering to the elitist liberal class. Historic and analytic questions intersect in Brahms’s chamber music at this time. This is a basic study of Brahms’s late chamber music as a product of his time. He belonged to the late liberal tradition and, also, he was in his late period as a composer when tonality was regarded as old. Adorno is used as a starting point. See also Notley, “Late-Nineteenth-Century Chamber Music and the Cult of the Classical Adagio,” in 19th-Century Music, xxiii (1999), pages 33–61. 1160. Reiser, Salome. “‘Vater Haydn muss im Grabe lächeln’: Johannes Brahms und die Wiener Quartett-Tradition.” Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, Band 12. (Vienna: Doblinger, 2006, ISBN: 3900695814), 114–23. Brahms seems to have had little direct contact with the Viennese tradition of quartets after his 3 works were first performed elsewhere. One can only speculate on the 20 or so youthful string quartets by Brahms, which he destroyed. But clearly he was indebted to Haydn’s, Mozart’s, and Beethoven’s quartets, which were the basic repertory of the 3 ensembles who worked with him: the Joachim, Hellmesberger, and Florentine quartets. Included is a brief source analysis (autographs and prints). 1161. Hill, William G. “Brahms’ Opus 51: a Diptych,” in The Music Review, xiii (1952), 110–24. Hill analyzes the cyclic unity of each of the 2 earlier string quartets and finds similarities between both in the opening motives, motivic treatment, and other mostly thematic and motivic factors. Despite Brahms’s deception in describing these as not related, they were written at the same time and with many of the same ideas—2 externally different works that form a diptych—2 sides of the same picture. See also 267. 1162. Yang, Benjamin Hoe. “A Study of the Relationship between Motive and Structure in Brahms’s op. 51 String Quartets.” PhD disseration.

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University of North Texas, 1989. 260 pages. DAI Vol. l (March 1990), p. 2703A. Considers motivic aspects of these quartets and ponders why Brahms discarded 10 quartets before allowing these 2 to be published. 1163. Krummacher, Friedhelm. “Reception and Analysis: On the Brahms Quartets, Op. 51, Nos. 1 and 2,” in 19th-Century Music, xviii (1994), 24–5. 1164. Smith, Peter H. Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His ‘Werther’ Quartet. Bloomington (IN): Indiana University Press, 2005. ISBN 0253344832. ix + 325 pages. Brahms referred to the suicide of Werther in Goethe’s novel in describing his C-minor piano quartet, Op. 60. Some writers have sought to find a parallel between this story and Brahms’s personal relationship with the Schumanns and have looked for a program in the quartet. Smith’s lengthy study attempts to explain how the relationship of this quartet with the Werther story could involve pure music. He combines detailed Schenkerian and Schoenbergian structural analysis (for the theorist) with questions of expression. He concludes that it was not the story of Werther that Brahms intended but the intensity of expression shown by Werther; this is demonstrated in the extraordinary counterpoint in the music. 1165. Forte, Allen. “Motivic Design and Structural Levels in the First Movement of Brahms’s String Quartet in C Minor,” in The Musical Quarterly, lxix (1983), 471–502. A detailed Schenkerian analysis of the foreground motives and their “penetration of the middleground, a strong feature of this work and probably a structural aspect of widespread significance in all music of the later nineteenth century.” 1166. Suurpaa, Lauri. “The Undivided Ursatz and the Omission of the Tonic ‘Stufe’ at the Beginning of the Recapitulation.” Journal of Schenkerian Studies, i (Fall 2005), 66–91. Suurpaa discusses 3 works whose structures diverge from this description of sonata form: the first movements of Haydn’s Symphony No. 95, Schumann’s Third Symphony Op. 97, and Brahms’s String Quartet Op. 51, first movement. Suurpaa concentrates on the recapitulation. 1167. Lee, Ming-Wen. “Brahms’s String Quartet in C Minor, Op. 51, No. 1: Context, Analysis and Interpretive Approaches. “ DMA dissertation. University of Washington, 2002. v + 127 pages. The genesis, history, and reception of Brahms’s first quartet. This is a traditional analysis with special emphasis on the role of the

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violoncello. It includes a comparison of 6 recorded performances of the quartet. 1168. Link, Nathan. “Anxiety, Nostalgia, and Melancholy in Brahms’s Cminor String Quartet.” MA thesis. University of Washington, 2001. 1169. Breslauer, Peter Seth. “Diminutional Rhythm and Melodic Structure,” in Journal of Music Theory, xxxii (1988), 14+. Discusses Brahms’s String Quartet Op. 51, No. 2, in A minor, last movement. 1170. Frisch, Walter. “The Snake Bites its Tail: Cyclic Processes in Brahms’s Third String Quartet, Op. 67.” The Journal of Musicology, xxii (Winter 2005), 154–72. After considering 2 other types of cyclic unity as composed by Beethoven and the French (especially César Franck) and after pointing out how Brahms’s third symphony treats the concept, Frisch demonstrates the striking “reuse” of the main theme of the first movement of his third string quartet in the fourth, sixth, and seventh variations and coda of the last movement. The main themes of the 2 movements have a kinship that is revealed only in these later sections of the fourth variation. 1171. Braus, Ira. “Johannes Brahms: Mastersinger and Chamber Musician.” Liner essay for Johannes Brahms: The Violin Sonatas, (Titanic Records TI-260, 2001), 3–31. Available online from Titanic Records, http://www.titanicrecords.com/pdf/Ti260booklet.pdf. A brilliant essay that is an in-depth analysis of the 3 sonatas in the context of Brahms’s works and those by other composers of the later19th century. The first sonata is related to songs of Heimweh (homesickness) by Brahms. The second begins with a direct quotation from the Prize Song in Wagner’s opera Die Meistersinger von Nürnberg. A plethora of musical examples permeates the essay. 1172. Fellinger, Imogen. “Brahms’ Sonate für Pianoforte und Violine op. 78: ein Beitrag zum Schaffensprozess des Meisters,” in Die Musikforschung, xviii (1965), 11–24. A detailed description of the manuscript of this sonata (2 facsimiles are included) and differences, important and unimportant, from the accepted printed version. 1173. Fischer, Richard Shaw. “Brahms’ Technique of Motivic Development in his Sonata in D Minor Opus 108 for Piano and Violin.” DMA dissertation. University of Arizona, 1964. UM 64–8763. DA xxv.3, p. 1956. 188 pages.

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Fischer attempts to show that the thematic material of a movement is derived from its principal subject, that these derivations result from the imitation, variation, and/or transformation of motives that constitute the structure of that principal subject, that the opening 4 measures of the sonata generate the entire thematic substance of all 4 movements, and that motivic development is related to dynamics and harmony. 1174. Wen, Eric. “‘Wie Frühlingsblumen blüht es’: The First Movement of Brahms’s Violin Sonata in A Major, Op. 100.” Essays from the Third Annual Schenker Symposium, Allen Cadwallader and Jan Miyake, eds, in Studien und Materialien zur Musikwissenschaft, xlii (Hildesheim: Georg Olms Verlag, 2006. ISBN 9783487132006), 103–26. Wen gives a Schenkerian analysis of the first movement of Brahms’s Violin Sonata in A-major that highlights a motivic idea of the chromatic scale F#-F-E found at important junctures of the movement. The second theme of the movement is based on a song by Brahms set to a text by Klaus Groth—“Wie Melodien zieht es” (whose third line is “Wie Frühlingsblumen blüht es”), and the merging of the second theme with the chromatic figure in the coda perhaps expresses the meaning of the poem. 1175. Notley, Margaret. “Brahms & Friends: Music for Viola and Piano.” The American Brahms Society Newsletter, xix, No. 2 (Autumn, 2001), 9. 1176. Bernstein, David W. “‘Paths of Harmony’ in the First Movement of Brahms’s Cello Sonata in E Minor, Op. 38.” Current Musicology, No. 75 (2003), 169–83. Schonberg’s conception of harmonic motion in a tonal work is that from the beginning to the end of a movement the pull toward and away from the tonic creates states of rest and unrest. These states, in which tonal centers and motives with their implied tonalities work together, give both dynamism and organic unity to the piece. Bernstein applies this theory to the first movement of the Brahms violoncello sonata, wherein the motives and harmonies develop from the first challenge to the tonic in the exposition to the resolution in the coda. This is an intelligent and detailed analysis that should aid the performer as well as theorist in understanding Brahms’s work. 1177. Ulrichs, Friedrich W. Johannes Brahms und das verschwundene Adagio: Entstehen, Aufnahme, Beschreibung der Sonaten für Pianoforte und Violoncello opus 38, e-moll und opus 99, F-dur. Göttingen: Puch, 1996. ISBN 3-93164-302-6. ML410.B8U57.1996. 98 pages. The theory presented by Ulrichs is that the adagio affetuoso, which is the second movement of the later Cello Sonata Op. 99, was originally

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intended for the adagio movement of the earlier Cello Sonata, Op. 38. The argument is presented with much musical and historical evidence, accompanied by many musical examples and some illustrations. 1178. Ng, Samuel. “The Hemiolic Cycle and Metric Dissonance in the First Movement of Brahms’s Cello Sonata in F Major, Op. 99.” Theory and Practice, xxxi (2006), 65–95. An analysis of the Brahms movement by finding the various uses of hemiola in the piece and how these displaced accents coincide with or affect the harmony and form. Although a bit abstract, this treatise would help the violoncellist and pianist performing the piece in the nuances of interpretation. By extension, this would also be valuable for anyone performing the music of Brahms. 1179. Ellsworth, Jane Elizabeth. “A Report on ‘Brahms: The Late Chamber Works … a Bridge to the Future,’ a Symposium on the Brahms Opus 120 Sonatas.” The Clarinet, xxx (June 2003), 54–5. The symposium was devoted to the Brahms clarinet sonatas Op. 120 and their viola arrangements. Brahms wrote a lot of chamber music to attack right-wing, anti-Semitic Catholics in Germany who associated chamber music with Jews, liberals, and the bourgeoisie. Ellsworth includes a brief synopsis of Robert Levin’s analysis of the sonatas. 1180. Smith, Peter H. “Brahms and the Neapolitan Complex: Flat II, Flat VI, and their Multiple Functions in the First Movement of the F-Minor Clarinet Sonata,” in David Brodbeck, ed, Brahms Stuides, ii (Lincoln: University of Nebraska Press, 1998), 169–204f. ISBN 0-8032-6196-9. A thorough examination of the use of the neapolitan chord by Brahms and how it dominates the clarinet sonata. 1181. da Silva, Fabio Roberto. “Gardenal Brahms’ Piano Trio Op. 8, in B Major: a Comparison between the Early (1854) and Late (1860) Versions.” PhD dissertation. New York University, 1993. DAI Vol. liv (August 1993), p. 362A. 160 pages. The historical background is given and then there is a detailed comparison between the 2 versions “in terms of compositional techniques and stylistic differences.” 1182. Baldassarre, Antonio. “Johannes Brahms and Johannes Kreisler: Creativity and Aesthetics of the Young Brahms illustrated by the Piano Trio in B-major Opus 8,” in Acta Musicologica, lxxii (2000), 145–67. “Johannes Brahms in Bann von Johannes Kreisler: ein Beitrag

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zur Schaffenästhetik des jungen Brahms dargestellt am Klaviertrio H-Dur op. 8,” Musikdenken: Ernst Lichtenhahn zur Emeritierung— 16 Beiträage seiner Schülerinnen und Schüler. Publikationen der Schweizerischen Musikforschenden Gesellschaft, ii/41, Patrick Müller, ed (Bern: Lang, 2000, ISBN 3-906764-753), 123–53. Baldassarre studies the allusions to E.T.A. Hoffmann’s fictitional character Johannes Kreisler by Brahms, who actually signs the name of Kreisler to some of his earliest compositions including the Trio Op. 8. In the original version of that work, Brahms quotes melodies by Schubert and Beethoven; when the work was revised, Brahms eliminated direct quotations of those melodies, but their influence on the whole structure of the piece remained. Likewise, even though Brahms stopped using the name Kreisler in 1856 as the composer of his works, the influence of the Kreisler figure on him remained part of his aesthetic subconscious. In early Romantic writers, the artist was continually evaluating his work and striving to put into notes the vague, mysterious symbols of nature; Kreisler represented this artist, and Brahms’s revision of his trio was symbolic of his continual Kreislerian effort to be more precise in capturing the originality of the soul of the piece. 1183. Bozarth, George S. “Brahms B Major Trio: an American Premiere,” in The American Brahms Society Newsletter, viii, No. 1 (1990), pages 1–4. A reprint of the program and 2 reviews of the world premier of the early version of Brahms’s B major Trio, Op. 8 (1854), which took place in New York on November 27, 1855, performed by William Mason (piano), Theodore Thomas (violin), and Carl Bergmann (violoncello). Bozarth then briefly describes the revised version of 1889 and the difficulty it had in replacing the earlier version. 1184. Zaunschirm, Franz. Der frühe und der späte Brahms: eine Fallstudie anhand der autographen Korrekturen und gedruckten Fassungen zum Trio Nr. 1 für Klaiver, Violine und Violoncello opus 8, in Schriftenreihe zur Musik, Band 26. Hamburg: K. D. Wagner, 1988. ISBN 3-8897-9030-5. ML410.B8Z4.1988. 260 pages. A painstaking analysis and comparison of the early and late versions of Brahms’s Piano Trio Op. 8. By studying why and how the older Brahms corrected the earlier Brahms, we can determine the composer’s mature compositional method. Zaunschirm is concerned not only with the manuscripts, prints, and handwritten corrections of notes and rhythms but also with the finer subtleties such as bowings and articulation. 1185. Kube, Michael. “Brahms’ Klaviertrio H-Dur op. 8 (1854) und sein gattungsgeschichtlicher Kontext.” Internationaler Brahms-Kongress

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Gmunden 1997. Kongressbericht. Veröffentlichungen des Archivs der Gesellschaft der Musikfreunde in Wien, i (Tutzing: Hans Schneider, 2001, ISBN 3795210828), 31–57. The Brahms Op. 8 trio is placed in the context of the revival of the genre in the middle of the 19th century, mostly in Germany. Kube includes a selected list of more than 90 piano trios written from 1835 to 1896 but mostly from the 1840s to 1860s. See also 419. 1186. Sachs, Klaus-Jürgen. “Zur Konzeption des Ersten Satzes aus dem Klaviertrio c-Moll op. 101,” in Brahms-Analysen: Referate der Kieler Tagung 1983, eds Friedhelm Krummacher and Wolfram Steinbeck, in Kieler Schriften zur Musikwissenschaft, Band XXVIII (Kassel: Bärenreiter, 1984), 134–49. An attempt to understand why so many of Brahms’s contemporaries regarded this movement as outstanding, a structural marvel. The pregnant opening 4 measures present much of the following material, such as the triplets and the half step, but not always in symmetry. 1187. Carpenter, Patricia. “Schoenberg’s Tonal Body.” Theory and Practice, xxx (2005), 35–68. An examination of the first movement of Brahms’s piano quartet in C minor, Op. 60, using Schoenberg’s theory of musical composition. Carpenter derives this theory from various statements that Schoenberg made during his career, where he placed emphasis on art (what a piece of music is) and not on science (how a piece is made). She then deals with Schoenberg’s analysis of the Brahms movement based on chords moving to or away from the tonic. 1188. Gruber, Gernot. “Opus 111: Vergleich der Versionen für Streichquintett und für Klavier vierhändig.” Internationaler Brahms-Kongress Gmunden 1997. Kongressbericht. Veröffentlichungen des Archivs der Gesellschaft der Musikfreunde in Wien, I (Tutzing: Hans Schneider, 2001, ISBN 3795210828). 1189. Petty, Wayne C. “Brahms, Adolf Jensen and the Problem of the MultiMovement Work.” Music Analysis, xx (March–July 2003), 105–37. Discussion of how Brahms unifies multi-movement works by studying a particular case: the string quintet, Op. 88. Here the tonalities and harmonies are carefully worked out so that the 3 movements are interconnected. Petty relies on Schenkerian methods. 1190. Ravizza, Victor. “Möglichkeiten des Komischen in der Musik: der letzte Satz des Streichquintetts in F dur, op. 88 von Johannes Brahms,” in Archiv für Musikwissenschaft, xxxi (1974), 137–50.

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Explores humor (comedy) in the finale from Brahms’s quintet. Ravizza quotes various authors who define “comedy” as the sudden solution of a serious dilema into nothingness. Brahms achieves this when he sets up a potential fugue with its assumed high tension and then does nothing with it. 1191. Ruf, Wolfgang. “Die zwei Sextette von Brahms: eine analytische Studie,” in Brahms-Analysen: Referate der Kieler Tagung 1983, ed Friedhelm Krummacher and Wolfram Steinbeck, in Kieler Schriften zur Musikwissenschaft, xxviii (Kassel: Bärenreiter, 1984), 121–33. An excellent study of Brahms’s 2 early sextets, Opp. 18 and 36, which, by their nature, lie somewhat between esoteric chamber music and public symphony. Ruf analyzes and compares the 2 works, considering scoring, form, melody, harmony, and other traditional areas of analysis. This is written for the intelligent layperson as well as the scholar. 1192. Avins, Styra. “Brahms Observed: Carl Georg Peter Grädener with Brahms in Vienna.” The American Brahms Society Newsletter, xxi, No. 1 (Spring 2003), 1–5, and xxi, No. 2 (Autumn 2003), 5–8. On Brahms’s String Sextet Op. 18 and Brahms’s early life in Vienna, as described by his sometime Hamburg friend Grädener (1812–83). 1193. Wolff, Christoph. “Von der Quellenkritik zur musikalischen Analyse: Beobachtungen am Klavierquartett A-Dur op. 26 von Johannes Brahms,” in Brahms-Analysen: Referate der Kieler Tagung 1983, ed Friedhelm Krummacher and Wolfram Steinbeck, in Kieler Schriften zur Musikwissenschaft, xxviii (Kassel: Bärenreiter, 1984), 150–65. Wolff gives an analysis of the second, slow movement of this piano quartet, taking into account a rare sketch for part of the movement that survives and that indicates a change between the originally conceived movement and the version sent for publication in a fair copy a year later. He considers some suggestions to the score that Joachim made, the fact that Brahms made changes after the work was first performed (with the assistance of Hellmesberger), and the unusual resulting form that Brahms eventually sanctioned for publication by Simrock. 1194. Dunhill, Thomas F. “Brahms’ Quintet for Pianoforte and Strings,” in The Musical Times, lxxii (1931), 319–22. Dunhill provides a history of this quintet: it was first a string quintet with 2 cellos, then it was rescored as a duet for 2 pianos, and finally in 1866 it reached its present scoring for piano and string quartet. Dunhill analyzes melody.

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1195. Notley, Margaret. “The F-Minor Piano Quintet in the Neue Brahms Ausgabe.” The American Brahms Society Newsletter, xx, No. 2 (Autumn, 2002), 9. 1196. Garcia, Ana Lucia AltiNo. “Brahms’s Opus 34 and the 19th-century piano quintet.” DMA dissertation. Boston University, 1992. DAI Vol. 53, October 1992, p. 980A. 223 pages. Garcia compares the 2 versions of Brahms’s piano quintet and reconstructs a now-lost string quintet by Brahms that shows how all these works are influenced by Schubert’s C major String Quintet. To put things into historical perspective, Garcia also considers the quintets of Prince Louis Ferdinand of Prussia and Robert Schumann, as well as Max Reger, Dvorák, and Franck. 1197. Larey, Franklin. “Developing variation, thematic transformation, and motivic unity in the Quintet for Piano and Strings, Op. 34, by Johannes Brahms.” DMA dissertation. University of Cincinnati, 1996. DAI Vol. lviii (July 1997), p. 22A. 109 pages. An analysis of Brahms’s motivic variation from the standpoint of Schoenberg’s appreciation of the same idea. For a comparison of Brahms’s Quintet in F and Bruckner’s Quintet in F, see Hans Redlich’s article 1225. 1198. Smith, P. H. “Structural Tonic or Apparent tonic? Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities,” in Journal of Music Theory, xxxix (1995), 270–2. Analyzes Brahms’s Piano Quintet. 1199. Michaels, Jost. Die Bedeutung der Klarinette in der Kammermusik von Johannes Brahms. Frechen: Müller & GössL, 2002. ISBN 3000090479. 195 pages. Michaels shows hows Brahms uses the clarinet in his 2 Sonatas Op. 120, his Trio for Piano, Clarinet, and Violoncello Op. 114, and his Clarinet Quintet Op. 115. Then he compares this with how Mozart, Beethoven, Weber, Schubert, Spohr, Reger, and Messiaen use the clarinet in their chamber pieces. The second half of the book consists of numerous musical examples. 1200. Häfner, Roland. Johannes Brahms, Klarinettenquintett, in Meisterwerke der Musik, Heft 14. Munich: Wilhelm Fink, 1978. MT 145.B7H3. ISBN 3-7705-1611-7. 54 pages, 22 examples + oversize chart with 9 tables. A simple, direct, well-written, and well-documented study of this piece for the student, layperson, and scholar. Häfner analyzes form and

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thematic processes of each of the movements wherein the organic unity is revealed. He considers variation form in chamber music. He opens by giving the historical background. 1201. Lawson, Colin James. Brahms: Clarinet Quintet. Cambridge/New York: Cambridge University Press, 1998. ISBN 0-5215-8193-1. ML410.B8.L3.1998. xii + 118 pages. Lawson provides a very detailed consideration of the pre-Brahms clarinet with special attention to Mozart’s Clarinet Quintet, the 19thcentury clarinet, Brahms’s uses of the clarinet in all kinds of music, including earlier chamber music, and specifically the Brahms Clarinet Quintet. He gives the history of this quintet, analyzes its form and structure, discusses the interpretation of the piece, and probes the influence of Brahms’s piece on Max Reger, Robert Fuchs, and others—especially in England. He includes a review of the London premier and more information on the clarinet. 1202. Dyson, George. “Brahms’ Clarinet Quintet, Op. 115,” in The Musical Times, lxxvi (1935), 315–19. Points out Brahms’s debt to the clarinetist Richard Mühlfeld. Dyson gives a non-technical analysis of keys, themes, and form. 1203. Pascall, Robert. “Brahms Underway to the Adagio of his Clarinet Quintet. A Story of Stylistic Assimilation and Enrichment.” Rezeption als Innovation: Untersuchungen zu einem Grundmodell der europäischen Kompositionsgeschichte: Festschrift für Friedhelm Krummacher zum 65. Geburtstag, Bernd Sponheuer, Siegfried Oechsle and Helmut Well, eds, in Kieler Schriften zur Musikwissenschaft, Band 46 (Kassel: Bärenreiter, 2001, ISBN 3761814704), 337–56. Brahms was influenced by the music of the past, especially that of Bach and Beethoven. The nature of this influence meant not wholesale imitation but integration of the great achievements of the past into the alreadyestablished personal style of Brahms. In this, Brahms differed from Liszt and Wagner, who belittled the past and, as a result, in Brahms’s eyes wrote shallow music. How Brahms utilized the past is demonstrated in his Second String Sextet Op. 36 and from there to the Clarinet Quintet. 1204. Jost, Peter. “Klang, Harmonie und Form in Brahms’ Horntrio op. 40.” Internationaler Brahms-Kongress Gmunden 1997. Kongressbericht. Veröffentlichungen des Archivs der Gesellschaft der Musikfreunde in Wien, I (Tutzing: Hans Schneider, 2001, ISBN 3795210828) 59–71. Jost argues that Brahms originally composed this trio for modern valve horn, violin, and piano and not for the Waldhorn or natural horn, and that the lack of a sonata-form first movement had nothing to do

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with the type of horn Brahms chose. The choice of any horn instead of viola or violoncello affected the sound, harmony, and form of the piece. Brahms later changed the scoring from Ventilhorn to Waldhorn. There is no real evidence that Brahms ever played the instrument. 1205. Dorschel, Andreas. “Was heißt konservativ in der Kunst? Das Horn im 19. Jahrhundert und das Es-Dur-Trio op. 40 von Johannes Brahms: eine ästhetische Fallstudie.” Brahms Studien. Veröffentlichungen der Johannes Brahms Gesellschaft, Band 14 (Tutzing: Hans Schneider, 2005). After musing on the meaning of “conservative” and its polarized opposite, “progressive,” Dorschel considers whether or not the changes from the natural to the valve horn in the mid-19th century spelled progress. Brahms wrote his trio for natural, hand-stopped horn, always performed it himself with a performer on the natural horn, and decried performances that used the “modern” horn. The subtle changes in tone quality characteristic of the natural horn are obliterated in the valve horn. It was part of the aesthetic of the 19th century to be closer to nature, and Brahms remained close to the zeitgeist that also produced “Des Knaben Wunderhorn.” Johann Evangelist Brandl 1760–1837 1206. Leinert, Friedrich Otto. Johann Evangelist Brandl (1760–1837) als Lieder-und Kammermusikkomponist. Wolfenbüttel: Verlag für musikalische Kultur und Wissenschaft, 1937. ML 410.B83L4. 142 pages + 28 page musical supplement, 53 examples. PhD dissertation. University of Marburg, 1936. Scholarly study of the vocal and chamber music of this relatively obscure South German composer. It contains a biography and a bibliography. Leinert discusses Brandl’s 6 string quintets Op. 11 (1797); 3 string quartets Op. 23 (1803); flute quartets Opp. 15 and 40; flute quintets Opp. 58 and 60; sextet for violin + oboe + bassoon + 2 violas + cello, Op. 52; and others. Brandl was influenced by Haydn and Mozart and not at all by Beethoven. Leinert gives the historical context, but the analyses are somewhat pedantic and shallow. 1207. Danzer, Otto. Johann Brandls Leben und Werke: ein Beitrag zur Musikgeschichte von Karlsruhe. Brünn/Prague/Leipzig: Rudolf M. Rohrer, 1936. ML 140.B817D3. 95 pages. A biography and analysis of representative works, including chamber music (pages 70–82). Danzer gives locations of the music (chamber music in Vienna and Berlin in 1936). The analyses are less pedantic than those by Leinert.

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Giuseppe Antonio Brescianello c.1690–1757 1208. Damerini, Adelmo. “I Concerti a Tre di G. Antonio Brescianello,” in Collectanea Historiae Musicae, I, in Historiae Musicae Cultores, II (Florence: Leo S. Olschki, 1953), 165–70. ML 55.C73 Vol. 1. Damerini briefly describes 12 trio concertos (2 violins + bass). Most are fast-slow-fast and display effective chromaticism and skillful counterpoint, even in the slow movements. The bass is treated equally with the violins, not as a continuo part. These concertos are important immediate precursors of the classical concerto, trio, quartet, and symphony. This is writen for scholars, laypersons, performers, and students. Jean-Baptiste Bréval 1753–1823 1209. Viano, Richard J. “Jean-Baptiste Bréval (1753–1823): Life, Milieu, and Chamber Works with Editions of Ten Compositions and Thematic Catalogue.” PhD dissertation. City University of New York, 1983. UMI 84–1488. DAI xliv.10A, p. 2924. 465 pages. Viano provides a biography, thematic catalogue, and bibliography of Bréval, whose many compositions are mostly chamber music for either the private salon or public concert hall, for amateurs or virtuosi. He also wrote a treatise on the cello (1804). Viano considers the forms, and the principles of concertante and dialogue, and cello technique in chamber music. Frank Bridge 1879–1941 1210. Bray, Trevor Ian. “Bridge’s Novelletten and Idylls,” in The Musical Times, cxvii (November 1976), 905–6. Considers Bridge’s earliest important published chamber music and its use of cyclic features. See also 276. Benjamin Britten 1913–76 1211. Evans, Peter. The Music of Benjamin Britten. Minneapolis: University of Minnesota Press, 1979. ML 410.B853E9. ISBN 0-8166-0836-9. vii + 564 pages. Whatever insights Evans might have into Britten’s chamber music are totally lost in a dreadfully profuse and incomprehensible style of

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writing. He analyzes all the chamber music with reference to Britten’s other works and to the major composers of his time. 1212. Mitchell, Donald. “The Chamber Music: an Introduction,” in Christopher Palmer, ed, The Britten Companion (London/Boston: Faber and Faber, 1984), Chapter 32, pages 369–74. ML 410.B853B7.1984b. ISBN 0-571-13147-6. Originally the program book for the 1977 Benson & Hedges Musical Festival. “Concentrated, economical and demanding musical thinking,” which comes naturally from sparse or spare transparent textures (precisely mixed and calculated sound), is the element of chamber music found in most of Britten’s work, even the operas. Mitchell points to Britten’s devotion to chamber music as a listener and as a performer (on piano and viola), and his composition of chamber music for specific performers whose personalities figure in the music, beginning with the oboe quartet Op. 2 (1932) for Leon Goossens. He briefly surveys the chamber music, including the unnumbered juvenalia string quartets. Most attention is given to the 3 mature quartets and especially to the poetic sense of the third—Britten’s recognition of impending death. 1213. Matthews, David. “The String Quartets and Some Other Chamber Works,” in Christopher Palmer, ed, The Britten Companion (London/ Boston: Faber and Faber, 1984), Chapter 34, pages 383–92. ML 410. B853B7.1984b. ISBN 0-571-13147-6. A brief discussion of some solo works, followed by analyses of the 3 mature Britten quartets for the informed layperson. Matthews discusses form, melody, tonality (or lack thereof) and points out unusual or important treatments of these by Britten. He takes special note of the chacony passacaglia movements and the influences of and similarities with works by Beethoven, Schubert, Mahler, Stravinsky, Bartók, and Shostakovich. 1214. Payne, Anthony Edward. “Britten and the String Quartet,” in Tempo, No. 163 (December 1987), 2–4. 1215. Brown, David. “Stimulus and Form in Britten’s Work,” in Music and Letters, xxxix (July, 1958), 218–26. Brown discusses String Quartet No. 2 and “The Holy Sonnets of John Donne” (both written 1945–46). He assumes the reader has the scores in hand. In the quartet, he discusses Bartók’s influence and Britten’s individuality. Brown does not find Britten entirely successful in this quartet; a lack of certainty plagues the first 2 movements, but the third (Chacony) is successful.

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1216. Keller, Hans. “Benjamin Britten’s Second Quartet,” in Tempo, No. 3 (March, 1947), 6–8. Brief but cogent analysis of form, motives, and keys. 1217. Matthews, David. “Britten’s Third Quartet,” in Tempo, No. 125 (June, 1978), 21–4. Formal analysis, with references to the previous 2 quartets and Britten’s opera Death in Venice. 1218. Greet, Martin. “Inconclusive Conclusions: Ambiguity, Semiotics and Britten’s Third String Quartet,” in Context, No. 6 (Summer 1993), 43–8. 1219. Evans, Peter. “Britten’s Cello Sonata,” in Tempo, No. 58 (Summer, 1961), 8–16, with facsimile of a manuscript page. Detailed analysis of the tonal schemes and motives. 1220. Wood, Hugh. “Britten’s Latest Scores,” in The Musical Times, ciii (1962), 164–5. Brief, interesting analysis of the sonata form of the first movement of his cello + piano sonata. The whole piece is monothematic under the influence of Bartók. 1221. Biggam, Vincent Mark. “Benjamin Britten’s Four Chamber Works for Oboe.” DMA dissertation. University of Cincinnati, 2001. DAI, lxii (November 2001) p1625A. A history of 4 works for oboe by Britten. The 4 works are Phantasy Op. 2 for oboe, violin, viola, and violoncello, six Metamorphoses after Ovid Op. 49 for solo oboe, Two Insects for oboe and piano, and Temporal Variations for oboe and piano. Biggam seeks the reason why the latter 2 works were not published in the composer’s lifetime. Max Bruch 1838–1920 1222. Fifield, Christopher. Max Bruch: His Life and Works. New York: G. Braziller, 1988. ISBN 0-8076-1204-9. ML410.B87F53.1988. 351 pages. New ed. Woodbridge/Rochester: Boydell Press, 2005. ISBN 1843831368. 399 pages. Ad passim reference to Bruch’s chamber works mentioning when and why they were composed and early performances. The references can be found by using the index of works. 1223. Lauth, Wilhelm. Max Bruchs Instrumentalmusik, in Beiträge zur rheinischen Musikgeschichte, Heft 68. Köln: reproduced typescript by

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Arno Volk-Verlag, 1967. MT 92.B88L4. 155 pages. PhD dissertation. University of Köln, 1967. RILM 68–2086. Bruch’s chamber music is only a small part of his surviving instrumental music. A large number of chamber music manuscripts once owned by the Berlin publisher Rudolph Eichmann apparently was lost in the war. Lauth analyzes the chamber pieces one by one, starting with the Trio for piano + violin + cello Op. 5 in C minor (1857). He relates the chamber music to contemporaneous and immediately preceding works by others. The late published chamber music is either wholely or partially folksong arrangements or rearrangements of earlier works. Most significant are some works for his son, Max Felix Bruch, a great clarinetist. Rudolf Bruci 1917–2002 1224. Rozic, Vesna. “Adaptacija novoglazbenih tehnika na tradicijski slog: Rudolf Bruci, skladatelj u procjepu estetika i ideologija/Adaptation of new music techniques based on traditional settings: Rudolf Bruci, the composer between aesthetics and ideology.” Arti Musices Hrvatski Muzikoloski Zbornik, xxxvi, No. 1 (2005), 15–62. An exploration of the compositional style of Rudolf Bruci, including among several examples his String Quartet No. 5 (1990). Anton Bruckner 1824–96 For a catalogue of Bruckner’s 4 pieces of chamber music, see Renate Grasberger, Werkverzeichnis Anton Bruckner (WAB) (Tutzing: Hans Schneider, 1977), pages 121–24. ML 134.B87 A18. ISBN 3-7952-0232-9. For a basic study of Bruckner, see John Williamson, ed, The Cambridge Companion to Bruckner (Cambridge/New York: Cambridge University Press, 2004), xxii + 303 pages. ISBN 0521804043. 1225. Redlich, Hans Ferdinand. “Bruckner and Brahms Quintets in F,” in Music and Letters, xxxvi (1955), 253–8. Brief analysis of Bruckner’s only mature piece of chamber music in terms of suitability for the instruments and tonality. Redlich offers an even briefer exposition of Brahms’s debt to Bruckner in his F major Quintet. 1226. Nowak, Leopold. “Form und Rhythmus im ersten Satz des Streichquintetts von Anton Bruckner,” in Gerhard Schuhmacher, Zur musikalischen Analyse, in Wege der Forschung, Band 257 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1974), pages 186–203. MT 6.S3529Z8. ISBN 3-534-04791-5. Originally in Horst Heussner, ed,

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Festschrift Hans Engel zum siebzigsten Geburtstag (Kassel: Bärenreiter, 1964), 260–73. Shows Bruckner’s care with form, as evinced in this quintet movement. Nowak gives a detailed analysis of the motives. 1227. Resch, Gerald. “‘Wir werden ausgelacht’: Irritierende Momente in Bruckners Scherzo des Streichquintetts.” Österreichische-Musikzeitschrift, lix, No. 10 (October 2004), 9–18. Joseph Helmesberger asked Bruckner to write his string quintet for 2 violins, 2 violas, and violoncello in 1878 but did not premier it because he was upset with the second, scherzo movement. By using an ostinato-like pattern in the inner strings that caused awkward harmonies in counterpoint with itself and the main melodies of the first violin, Bruckner dumbfounded both Helmesberger and the critics. Instead, at the violinists’ insistence Bruckner substituted an intermezzo that avoided the problems of the scherzo. Resch weighs this unusual movement in relation to pieces by Morton Feldman and Steve Reich that do much the same thing, though of course the scherzo was not an influence on those composers. Herbert Brün 1918–2000 1228. Brün, Herbert. When Music Resists Meaning: The Major Writings of Herbert Brün. Arun Chandra, ed. Middletown (CT): Wesleyan University Press, 2004. ISBN: 0819566691. 335 pages. This is a collection of musings about different aspects of music by the German-Israeli-American composer Brün, of which one section (“The Function of Time and Art,” pages 6–39) applies his concept of time to his short second string quartet (1957), which is given in score as the discussion continues. Time moves from 1 event to another with no change, with change in a continuum, or with radical change, and this occurs through change of meter or lack of perceived meter from 1 section to another in the quartet. A CD accompanies the text. Gaetano Brunetti c.1744–98 1229. Fischer, Klaus. “Die Streichquartette Gaetano Brunettis (1744–98) in der Bibliothèque Nationale in Paris im Zusammenhang mit dem Streichquartett des 18. Jahrhunderts,” in Christoph-Hellmut Mahling and Sigrid Wiesmann, eds, Gesellschaft für Musikforschung, Bericht über den internationalen musikwissenschaftlichen

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Kongress Bayreuth 1981 (Kassel: Bärenreiter, 1984), 350–9. ML 26. G49.1981. Brunetti was a prolific and important chamber music composer who, because of unfounded rumors that he plagarized and hurt Boccherini, has not received his due. Brunetti worked at the Spanish court with Boccherini. Fischer gives a detailed scholarly study of the manuscripts of 27 string quartets, an analysis of their form and texture, and a comparison with Haydn’s Opp. 9–33. Brunetti shows Italian characteristics (Op. 2, 1770s), French characteristics (Op. 3), and independence (the next 15 quartets). The 27 quartets show Brunetti’s growth as a quartet composer and the relationship between the Italian and Viennese quartets of the late-18th century. 1230. Belgray, Alice Bunzl. “Gaetano Brunetti: an Exploratory BioBibliographical Study.” PhD dissertation. University of Michigan, 1970. UMI 71–23693. DAI xxxii.3A, p. 1546. 283 pages. Belgray uncovers sonatas for violin and bass by Brunetti, presents 1 complete sonata and an independent movement, adagio glosado, and includes a thematic index. She gives court documents on his life. Giovanni Battista Buonamente c.1600–641 1231. Allsop, Peter. Cavalier Giovanni Battista Buonamente: Franciscan Violinist. Aldershot/Burlington (VT): Ashgate, 2005. ISBN 1840146273. xii + 252 pages. A biography of Buonamente, who from 1626 to 1637 published 4 large collections of sonatas and sinfonias for 2 to 6 solo instruments with basso continuo. Allsop places the music in the social context of the Gonzaga court and analyzes the pieces in the framework of the music of S. Rossi, Uccellini, and other contemporaries writing similar music. Ferruccio Benvenuto Busoni 1866–1924 1232. Beaumont, Antony. Busoni the Composer. Bloomington: Indiana University Press, 1985. ML 410.B98B4.1984. ISBN 0-253-31270-1. 408 pages. Beaumont describes Busoni’s second violin + piano sonata (pages 53–8) and a few other works. He discusses tonalities, thematic treatment, mood, and the use of Bach’s chorale “Wie wohl ist mir” and Beethoven’s Op. 109.

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Henry Butler c.1590–1652 1233. Phillips, Elizabeth Van Vorst. “The Divisions and Sonatas of Henry Butler.” PhD dissertation. Washington University, 1982. UM 83–2355. DA xliii.9A, p. 2826. viii + 253 pages (DA = 303 pages). Discusses the form and style of the string ensemble music and compares it with Italian works of the time. Butler wrote some of the earliest sonatas in England, and his sonata for bass viol + basso continuo may be the earliest such sonata in any country. Max Butting 1888–1976 1234. Brennecke, Dietrich. Das Lebenswerk Max Buttings. Leipzig: VEB Detuscher Verlag für Musik, 1973. HML 1844.65.10. 372 pages. Lists Butting’s 10 string quartets (1914–71) and other chamber and Hausmusik. Brennecke discusses them as part of a biography. Dietrich Buxtehude 1637–1707 For a catalogue of Buxtehude’s chamber music, see Georg Karstädt, Thematischsystematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude: Buxtehude-Werke-Verzeichnis (BuxWV) (Wiesbaden: Breitkopf & Härtel, 1974), pages 195–215. ML 134.B95K3. ISBN 3-7651-0065-X. 1235. Defant, Christine. Kammermusik und Stylus Phantasticus: Studien zu Dietrich Buxtehudes Triosonaten, in Europäische Hochschulschriften, Reihe 36, Musikwissenschaft, No. 14. Frankfurt am Main/Bern/ New York: Peter Lang, 1985. ISBN 3-8204-8514-7. 514 pages. PhD dissertation. University of Kiel. Defant offers a thorough analysis of 4 Buxtehude sonatas for violin + viola da gamba + continuo (Op. 1 Nos. 3 and 6, Op. 2 Nos. 5 and 6) on the basis of theories of style and genre by Mattheson and Kircher and of contemporary practice by Corelli, Marini, Rosenmüller, Schmelzer, Biber, and others. She is primarily concerned with form and melody structure. “Stylus phantasticus” is Kircher’s term for secular style. Particular attention is given to the chamber sonatas of the Hamburg school of organists. 1236. Jensen, Niels Martin. “Die italienische Triosonata und Buxtehude: Beobachtungen zu Gattungsnorm und Individualstil,” in Gattung und Werk in der Musikgeschichte Norddeutschlands und Skandinaviens, eds, Friedhelm Krummacher and Heinrich Schwab (Kassel: Bärenreiter, 1982), 107–13.

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After noting the neglect of Buxtehude’s sonatas in modern days, Jensen discusses the sonatas for treble instrument, bass instrument (not doubling the continuo) and continuo, published as Op. 1 and Op. 2 (both in 1696). He compares them with contemporary Italian sonatas (by Legrenzi) and considers their classification as “stylus phantasticus” – that is, not theater, church or dance music. 1237. Linfield, Eva. “Dietrich Buxtehude’s Sonatas: a Historical and Analytical Study.” PhD dissertation. Brandeis University, 1984. UMI 84–20780. DAI xlv.8A, pp. 2298–99. 432 pages. Linfield is concerned with sonatas for violin + viola da gamba + harpsichord or similar scoring, 14 of which were published in 2 collections and others in manuscript, written over a period of 30 years. She places the sonatas in historic and geographic context and analyzes them. William Byrd 1543–1623 1238. Neighbour, Oliver W. The Consort and Keyboard Music of William Byrd. Berkeley/Los Angeles: University of California Press, 1978. ML 410.B996M9.1978.Vol.3. 272 pages. A scholarly study of Byrd’s viol consort music of the second half of the 16th century. Neighbour discusses sources, styles, and functions, and analyzes individual pieces. He considers the Byrd works in context of English chamber music of the time. The first 100 pages deal with consort music; the rest deal with keyboard music. John Cage 1912–92 1239. Cadenbach, Rainer. “Musik zwischen den Zeilen: Beobachtungen am Text und beim Hören von John Cages ‘String Quartet in Four Parts.’” Zwischen Komposition und Hermeneutik: Festschrift für Hartmut Fladt, Ariane Jessulat, Andreas Ickstadt, and Martin Ullrich, eds (Würzburg: Königshausen & Neumann, 2005, ISBN: 382603211X), 347–63. An analysis of Cage’s String Quartet (1949–50) as a pivotal work between symmetrical suspension of sound to arouse permanent emotions following Indian tradition (as in the sonatas and interludes of the same time) and asymmetrical structures to suggest the emotions through free association. The 4 movements are loosely associated with the 4 seasons of the year without a Vivaldi-like program. The quartet stands between serialism (the third movement—Winter) and the dismissal of the demanding rules of Western art music (the other 3 movements).

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Each of these 3 movements uses any number of 61 possible aggregates of sound determined in advance by Cage and spread among the 4 instrumentalists. Cadenbach shows how these aggregates work and how they create between the musical lines free association with the seasons. Structural details are not meant to be heard; the listener must use his/her own ability to fantasize with each tone. Antonio Caldara 1670–1736 1240. Barnes, Marysue. “The Trio Sonatas of Antonio Caldara.” PhD dissertation. Florida State University, 1960. LC Mic 60–1403. DA xx.11, pp. 4405–6. 2 vols. 509 pages. Edition of 15 sonatas in Vol. II. Reviews the evolution of the trio sonata and the biographical data on Caldara. She analyzes in detail Opp. 1 and 2 Trio Sonatas (1693, 1699), some da chiesa and the rest da camera. They are typical of the time. Giovanni Giuseppe Cambini 1746–1825 1241. Roncaglia, Gino. “Giovanni Giuseppe Cambini Quartettista,” in Adelmo Damerini and Gino Roncaglia, eds, Musiche Italiane Rare e Vive da Giovanni Gabrieli a Giuseppe Verdi (Sienna: Accademia Musicale Chigiana, 1962), 293–9. Cambini, along with Boccherini, had established a contrapuntal style for quartets before Haydn. Roncaglia traces the quartet from the sinfonias a4 of Giovanni Maria Bononcini and the sonatas a4 by Tartini, Giardini, Galuppi, Latilla, Nardini, Rutini, Bertoni, Tommaso, Giordani, Boccherini, Manfredi, Zanetti, Cambini, and Bruni to Haydn, Mozart, and Beethoven. Cambini wrote at least 144 quartets (see 1242 for a different figure), and he is unfortunately remembered as being facile and superficial. He wrote music to make money since he was quite insecure (he had been a slave in Barberia), but when he took the time to be careful, he was a master of style and was inspired. The quartets are usually in 2 movements; a few are in 3 movements. Rare early works exist in 4 movements. The first movement is binary, the second is an inspired theme with variations, some of which are virtuosic. Cambini loves freedom and variety of timbre, rapid change of emotions, and occasionally titles or programs. Some quartets are for more unusual scorings: flute + violin + viola + cello or violin + 2 violas + cello. They create a dialogue or conversation effect. They are much more dramatic and romantic than galant. Roncaglia offers a detailed analysis of Op. 20 No. 5, in 3 movements.

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1242. Trimpert, Dieter Lutz. Die Quatuors Concertants von Giuseppe Cambini, in Mainzer Studien zur Musikwissenschaft, Band 1. Tutzing: Hans Schneider, 1967. MT 145.C33T7. 328 pages. Trimpert begins with a biography and then gives a detailed, scholarly study of the chamber music of this Italian-born, French composer who flourished in Paris 1773–1804 and wrote an enormous amount of music, including 114 string quintets, 3 wind quintets, 174 string quartets, 33 or 39 “quatuors d’airs” and 5 piano quartets. This is an extremely important study of French quartet practice at the same time as the maturing of Viennese quartet practice. Cambini is discussed in detail, but he is also used as a means for understanding the whole French practice of the time. Cambini’s quartets were widespread during his lifetime—known to Mozart and Gluck, and heard in concerts in Germany and even in Philadelphia (1786) and New York (1794). Trimpert also compares Cambini’s quartets to Haydn’s (especially Op. 17), not only in the concertant style but also in form and with other considerations, and to Mozart’s middle quartets (especially K. 298, which is a quatuor d’airs). There is no talk of “influence,” only of similarities. He concludes with a thematic catalogue of all Cambini quartets, string quintets, quartets with flute or oboe with strings, quartets for violin + 2 violas + cello, and the quatuors d’airs. Carlo Antonio Campioni 1720–88 1243. Floros, Constantin. “Un Compositore Livornese del xviii Secolo: l’Opera Strumentale di C. Antonio Campioni,” in Rivista di Livorno: Rassegna di Attività Municipale, ix (1959), 27–39. PhD dissertation, “Carlo Antonio Campioni als Instrumentalkomponist.” University of Vienna, 1955. Floros lists Campioni’s 35 trio sonatas (2 violins + continuo), 6 violin duets, 6 duets for violin + cello or harpsichord, and various other sonatas, and deals with their importance in the history of 18thcentury instrumental music. They were widely disseminated in England, France, and Holland and belong to a period of transition from the contrapuntal to the virtuosic sonata. More traditional than Pugnani’s sonatas, there is more counterpoint and less domination by violin 1. Floros considers the instrumentation of the bass (can be played without keyboard). All of the sonatas are in 3 movements: slow-fast-fast. Some are in binary form, the rest are in nascent sonata form. Campioni’s biography is in an earlier article in the same periodical, v (1955), 134–50.

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Edith Canat de Chizy b.1950 1244. Stévance, Sophie. “Le souffle d’une passion: A corps et a cordes-Le quatuor ‘Vivere’ d’Edith Canat de Chizy.” Dissonanz/Dissonance, xci (September 2005), 22–7. This is an introduction to Canat de Chizy’s career and works. The composer’s relationship with the violin is discussed, and her string quartet Vivere (2001) is briefly analyzed. Christian Cannabich 1731–98 1245. Soutar, Marjorie Elizabeth. “Christian Cannabich (1731–98): An Evaluation of his Instrumental Works.” PhD dissertation. University of Aberdeen, 1972. 3 vols. RILM 72–1766. John Alden Carpenter 1876–1951 1246. Pike, Gregory Burnside. “The Three Versions of the Quintet for Piano and Strings by John Alden Carpenter: An Examination of Their Contrasting Musical Elements Based upon a Formal Analysis of the Original 1934 Version.” DMA dissertation. University of Miami, 1981. UMI 82–11819. DAI xlii.12A, p. 4970. 136 pages. A biography and overall assessment of Carpenter’s oeuvre, followed by a detailed harmonic analysis of the original version and the 1947 revised version and an incomplete second revised version (undated) of the quintet. Elliott Cook Carter b.1908 1247. Schiff, David. The Music of Elliott Carter. London: Eulenburg Books/New York: Da Capo, 1983. ML 410.C3293S34.1983. ISBN 0-903873-06-0. Analysis of Carter’s works in chronological order, including the first 3 string quartets, sonatas, duos, brass quintet, and others. The analyses, which are shallow, are prefaced by useful data on each piece. This book is designed for the non-professional musical reader. Schiff studied with Carter and includes here personal interviews. 1248. Hurwitz, D. “Music of Passion and Beauty: Sony Classical Producer Gary Schultz Talks about Elliott Carter’s String Quartets,” in Fanfare, xv (1992), 58+.

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1249. Harris, Jane Duff. “Compositional Process in the String Quartets of Elliot Carter.” PhD dissertation. Case Western Reserve University, 1983. UMI 83–28260. DAI xliv.11A, p. 3200. 320 pages. Shows how Carter’s own criteria for composition (discourse, time, and texture) change from Quartet No. 1 (thematic), to No. 2 (characters texturally defined), to No. 3 (2 textures). 1250. Glock, William. “A Note on Elliott Carter,” in The Score, No. 12 (June 1955), 47–52. An introduction to Carter’s technique of metrical modulation whereby tempo changes are effected by metrical change. Glock shows the progression of Carter’s ideas from the Cello + Piano Sonata to the String Quartet No. 1. He compares Carter’s overall polyphony of varying rhythms to the mannerists of the late-14th century. 1251. Bernard, Jonathan Walter. “Problems of Pitch Structure in Elliott Carter’s First and Second String Quartets,” in Journal of Music Theory, xxxvii (1993), 231–66. 1252. Headrick, Samuel Philip. “Thematic Elements in the Variations Movement of Elliott Carter’s ‘String Quartet Number One.’” PhD dissertation. University of Rochester, 1981. UMI 81–16504. DAI xlii.3A, pp. 907–8. 149 pages. Hendrick finds that Carter uses 3 themes, each of which is introduced at a different point in the movement and each of which is gradually accelerating until it vanishes. 1253. Stein, Don Allan. “The Function of Pitch in Elliott Carter’s ‘String Quartet No. 1.’” PhD dissertation. Washington University, 1981. UMI 81–22759. DAI xlii.4A, p. 1371. 110 pages. Stein considers pitch as a unifying factor in this piece, and notes 3 sets of pitch complexes that recur with greatest frequency and at structurally significant points. As this highly technical study unfolds, other factors (such as harmony and motives) are considered as well. 1254. Schreiner, Martin. “Expansion as Design in the Fantasia of Elliott Carter’s String Quartet No. 1,” in Sonus, xii (1992), 11–26. 1255. Steinberg, Michael. “Elliott Carter’s Second String Quartet,” in The Score, No. 27 (July 1960), 22–6. Steinberg praises the 4-movement quartet, premiered March 25, 1959, as entirely new, starting with its form of an introduction and conclusion and cadenzas linking each of the movements. He finds Carter concerned with the 4 individuals in the quartet and their ever-changing relationship. This is a good analysis.

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1256. Schmidt, Dörte. “‘The Practical Problems of the Composer’: der schwierige Weg vom Auftrag zur Uraufführung von Elliottt Carters zweitem Streichquartett,” in Die Musikforschung, xlviii (1995), 400–3. Schmidt outlines the commissioning of Carter’s Second String Quartet by the Stanley Quartet of the University of Michigan and the problems that led to the premier by the Juilliard Quartet. She uses this as part of a discussion on the difficulty of being a professional composer in a democracy like the United States. 1257. Gass, Glenn. “Elliot Carter’s Second String Quartet: Aspects of Time and Rhythm,” in Indiana Theory Review, iv, No. 3 (1981), 12–23. The interactions of the different time worlds of each of the 4 instruments gives form to the piece. The cello, for example, has a fluid free rhythm, while the second violin plays “even, rigid rhythmic figures” (“the metronome of the quartet”). The first violin goes between these extremes, and the viola “presents odd rhythmic figures” and uses special expressive devices like glissando. There are 4 main sections or movements to the piece, and in each movement a particular instrument is dominant. 1258. Koivisto, Tuija Tiina Hannele. “Aspects of Motion in Elliott Carter’s Second String Quartet,” in Integral, x, (1996), 19–52. 1259. Carson, Sean Hazard. “Trace Analysis: Some Applications to Musical Contour and Voice Leading.” PhD dissertation. New York University, 2003. ISBN 0496371062. x +101 pages. The dissertation continues with an original composition. This is a highly technical discussion of musical contour and voice leading in atonal music based partially on theories by Morris and Friedmann and extended by Carson into trace analysis, which measures intervals in harmony and melody. By way of examples, Carson analyzes the second movement of Elliott Carter’s String Quartet No. 2 and Andrew Imbrie’s Short Story for solo piano. See also Sean H. Carson, “The Trace, its Relation to Contour, and an Application to Carter’s String Quartet No. 2.” Integral, xviii–xix (2004–5), 113–49. 1260. Mead, Andrew Washburn. “Pitch Structure in Elliott Carter’s String Quartet No. 3,” in Perspectives of New Music, xxii (1983–4), 31–60. A clear, concise analysis and description for the professional theorist of a complicated composition. The viola and violin 2 are treated as a unit distinct from the cello and violin 1. The 2 units contrast in rhythm with the former in even rhythm and the latter in a free, irregular rhythm. There are 10 movements (6 for the former unit, 4 for the latter), distinguished by character, playing technique, and interval. The 6 + 4 movements are combined in all possible ways ( = 24 possibilities), plus each unit also

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stands alone ( = 10 more possibilities) and there is a coda (which makes a total of 35 possible uses of the units during of the piece). Mead finds other structural factors within the above composition, and also traces 12-tone sets in the piece. The associations and differentiations among the movements and duos provide “a hierarchical language whereby we might understand the piece and eventually know it whole.” For another discussion of the Third String Quartet, see Michael Coonrod’s dissertation 742. 1261. Kim, Helen Heran. “Elliott Carter’s Fifth and Fourth String Quartets: an Analytic Study.” DMA dissertation. Juilliard School, 2001. 1262. Kim, Yeon-Su. “Stylistic Analysis of Elliott Carter’s String Quartet No. 5: Aspects of Character and Rhythm.” DMA dissertation. Boston University, 2006. vi + 117 pages. Kim discusses Carter’s theory of metric modulation and how it derives from non-musical sources (James Joyce, Sergei Eisenstein, for example). Carter’s complicated rhythmic organization, evident in all his music, culminates in the Fifth Quartet by contrasting layered and unified textures between the 12 movements, all the time presenting a consistent pulse from one movement to the next. This is intertwined with his choice of a limited number of chords. 1263. Carey, Christian Brian. “Aspects of Elliott Carter’s Fifth String Quartet and Three Original Pieces Featuring Pitch Percussion.” PhD dissertation. Rutgers, State University of New Jersey, 2001. DAI, lxii (April 2002) p. 3228A. vi + 78 pages. The rest of the dissertation consists of 3 original compositions. A traditional analysis of the quartet that relies partially on David Schiff ’s work and that takes into account earlier pieces by Carter. Carey notes that 2 fragments for string quartet composed in the 1990s assist in some small way to understand the fifth quartet. 1264. Jenkins, J. Daniel. “An Analysis of Elliott Carter’s Fifth String Quartet.” MM thesis. University of Louisville, 2000. 1265. Shinn, Randall Alan. “An Analysis of Elliott Carter’s Sonata for Flute, Oboe, Cello, and Harpsichord (1952).” DMA dissertation. University of Illinois, 1975. UM 76–6957. DA xxxvi.9A, p. 5631. 183 pages. A detailed thematic analysis for the professional theorist, with emphasis on the energy level of different moments of the sonata and on the tertial yet non-functional harmony. 1266. Derby, Richard. “Carter’s Duo for Violin and Piano,” in Perspectives of New Music, xx (1981–2), 149–68.

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A detailed, technical analysis of some aspects of this 1974 duo. It follows up Carter’s statement “that the nature of the composition is based on the performance characteristics of each instrument, e.g., the violin is often changing moods suddenly while the piano remains more constant in demeanor,” and the melodic intervals used on the 2 instruments differ. Carter uses 12-tone aggregates in a “fixed octave scheme.” Derby also considers the effect of metric modulation—the gradual reduction of the ratio of violin notes to piano notes. José Castel 1737–1807 1267. Fernández Cortés, Juan Pablo. “La musica instrumental de José Castel (1737–1807).” Principe de Viana, lxvii: Estudios sobre musica y musicos de Navarra (May–August 2006), 515–35. The first study of the instrumental music of José Castel, born in Tudela (Navarre), who published some chamber compositions in Paris. Dario Castello early 17th century 1268. Langley, Richard Douglas. “Sonate Concertate in Stil Moderno by Dario Castello: A Transcription of Book One.” PhD dissertation. Washington University, 1974. UM 75–6581. DA xxxv.9A, p. 6184. 211 pages. Langley gives a biography of Castello and a list of his works, together with an historical background, and comments on stylistic and other characteristics. He concludes with a transcription of the Sonate (Venice: 1621), which are similar to canzone and written for specifically denoted instruments (organ or spinet for the continuo). Maurizio Cazzati c.1620–77 1269. Suess, John Gunther. “The Ensemble Sonatas of Maurizio Cazzati,” in Studien zur italienisch-deutschen Musikgeschichte, xii, in Analecta Musicologica, xix (1979), 146–85. Basic discussion of the 5 collections of sonatas and canzoni a3 by Cazzati, the father of the Bologna School. This is essential reading for students and scholars who wish a more exact picture of 17th-century Baroque sonatas. Giacomo Cervetto c.1682–c.1783 1270. Conable, William G., Jr. “The Instrumental Sonatas of Giacomo Cervetto.” DMA dissertation. Boston University, 1969. RILM 70–1670. UMI 70–22442. DAI xxxi.5A, p. 2418. 2 vols. 337 pages.

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Conable discusses the life of the cellist Cervetto, who was active in London in 1738 and who composed 12 trio sonatas (some for 3 cellos), 12 solo sonatas for cello + continuo, 6 sonatas for flute + continuo, and 6 divertimenti for 2 cellos. He analyzes all the sonatas and notes their evolution from Baroque to Classical styles, sometimes within the same piece. Volume II is a critical edition of the 12 solo cello + continuo sonatas. Cécile Chaminade 1857–1944 1271. Citron, Marcia J. Cécile Chaminade: a Bio-Bibliography, in BioBibliographies in Music, No. 15. New York: Greenwood Press, 1988. ISBN 0-3132-5319-6. ML134.C425C6.1988. xiv + 243 + i pages. A list of the works, including a small number of chamber pieces. Citron includes publishing information, early performances, discography, and bibliography. Ernest Chausson 1855–99 1272. Grover, Ralph Scott. Ernest Chausson: The Man and his Music. Lewisburg: Bucknell University/London: Associated University Press, 1980. ML 410.C455G76. ISBN 0-8387-2128-2. 245 pages. Chapter 6: “Chamber Music.” History of the 5 chamber works, discussion of the influences by Franck, Debussy, and non-French music on them, and an excellent formal analysis. Note: the only other major chapter on Chausson’s chamber music (Jean-Pierre Barricelli and Leo Weinstein’s “Chamber Music,” in Ernest Chausson: The Composer’s Life and Works [Norman: University of Oklahoma Press, 1955; reprint Westport (Connecticut): Greenwood Press, 1973], 140–58, ML 410.C455B3.1973, ISBN 0-8371-6915-1) is inadequate. For a discussion of the Piano Trio Op. 3 by Chausson see 400. Carlos Chávez 1899–1978 1273. Parker, Robert L. Carlos Chávez: Mexico’s Modern-Day Orpheus. Boston: Twayne Publishers (G.K. Hall), 1983. ISBN 0-8057-9455-7. xiii + 166 pages. Chapter 3: “Chamber Music.” The earlier chamber music of Chávez is more traditional (piano sextet 1919, string quartet 1921, and sonatinas for violin + piano and cello

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+ piano 1924), and some traditional chamber music continues to 1969 (such as 3 more string quartets 1932, 1943, and 1964). Nontraditional pieces include Energía 1925 for 9 mixed strings and winds, Sonata for Four Horns 1929, Soli 1933 for oboe + clarinet + trumpet + bassoon, Xochipilli 1940 for piccolo + flute + e-flat clarinet + trombone + percussion for 6 players, and several percussion ensembles pieces. Parker discusses each work. He provides an excellent bibliography and discography, which supplant Rudolfo Halffter, Carlos Chávez: Catalogo Completo de sus Obras (Mexico: Sociedad de Autores y Compositores de Música, 1971). Luigi Cherubini 1760–1842 1274. Saak, Siegfried. Studien zur Instrumentalmusik Luigi Cherubinis, in Göttinger musikwissenschaftliche Arbeiten, Band 8. Göttingen: Jürgen Kinzel, 1979. HML 2005.15.78. vii + 234 pages. The fourth chapter, “Untersuchungen zur Kammermusik” (pages 106–226), is the most intensive study of Cherubini’s chamber music that is available. The chamber music consists of 6 string quartets, 1 string quintet (2 violins + 1 viola + 2 cellos), and “Souvenir … par Baillot” (1928). Saak does not deal with them separately but considers various compositional aspects and then uses the various sections of the chamber movements to illustrate the point (slow introductions, second themes, slow middle movements, scherzi, and so on). The book contains a good bibliography. 1275. Mansfield, Orlando A. “Cherubini’s String Quartets,” in The Musical Quarterly, xv (1929), 590–605. Mansfield discusses each of the 6 quartets, giving historical data (without documentation) including first performances. He considers form, basic keys, some important technical achievements, and insights for the performer. 1276. Ballola, Giovanni Carli. “I quartetti per archi di Cherubini,” in Chigiana, xliii (1993), 327+. 1277. Saak, Siegfried. “Ein unbekannter Streichquartettsatz Luigi Cherubinis,” in Die Musikforschung, xxxi (1978), 46–51. Saak discusses the phenomenon of Cherubini’s long abstinence from quartet-writing between 1814 and 1829 and considers this isolated movement—the first, in G, of an intended second quartet in 1814— that survives in manuscript in the Bibliothèque Nationale in Paris. Cherubini felt he could not compete with Beethoven.

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See also Fauquet’s discussion of French chamber music including Cherubini 215. Frédéric Chopin 1810–49 For a list of Chopin’s chamber music, see Krystyna Kobylanska, Frédéric Chopin: thematisch-bibliographisches Werkverzeichnis (Munich: G. Henle, 1979), page 326, trl. by Helmut Stolze from the Polish Ougud Rekopisy utworów Chopina Katalog (Cracos: Polskie Wydawnictwo Muzyczne, 1977). ML 134.C54A315. ISBN 3-87328-029-9. 1278. Delgado, Imelda. “The Chamber Music of Chopin.” PhD dissertation. Indiana University, 1975. RILM 75–1135. 112 pages. History and analysis of Chopin’s sonata for violin + piano, piano trio, 2 other pieces for cello + piano, and a flute + piano piece. 1279. Gajewski, Ferdinand John. “The Work Sheets to Chopin’s Violoncello Sonata.” PhD dissertation. Harvard University, 1980. 2 vols. I: v + 208 pages; II: 113 pages of facsimiles of the worksheets. The most extensive work sheets for any piece by Chopin pertains to his Op. 65 cello + piano sonata, his last published music. Gajewski gives historical and documentary background to the writing of the sonata and to the manuscript (first owned by Auguste Franchomme [1808–84], the cellist to whom the work is dedicated). Over the period of 150 years, numerous pages have been given away, but a 1954 photograph of the whole allows it to be seen in a much more complete state. This is a movement by movement, section by section analysis of Chopin’s process of composition of the sonata, with special attention to key areas, harmony, and motives. 1280. Sutcliffe, W. Dean. “Chopin’s Counterpoint: The Largo from the Cello Sonata, Opus 65,” in The Musical Quarterly, lxxxiii (1999), 114–33. Sutcliffe reviews the subtle way that Chopin weaves counterpoint into the brief, 27-measure slow movement of this sonata. He argues that 2 issues are of concern: the relationship of the piano to the violoncello and the syntactical use of counterpoint to achieve harmonic cohesion. He also ponders the use of counterpoint by composers in their late works to prove their maturity, though in this case Chopin was not old in an absolute sense. 1281. Goldberg, Halina. “Chamber Arrangements of Chopin’s Concert Works.” The Journal of Musicology, xix (Winter 2002), 39–84. Chopin refers to quartet or chamber music accompaniment of his concertos when he performed them in small salons or for other private and sometimes public occasions. When he speaks of “quartet or

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chamber music,” he means the number of instruments substituting for the orchestra could be as many as twelve. Goldberg reviews the question as to whether these constitute chamber music in the modern sense or chamber orchestral arrangements. In any case, with the difficulty in obtaining an orchestra, Chopin accepted “chamber” accompaniments, which was not a rare occurrence throughout the 19th century. Yiu-Kwong Chung b.1956 1282. Lin, Hsin-Chieh. “Yiu-Kwong Chung’s String Quartet ‘Upon the Surging Billows, Flakes of Snow’: An Analytical Study Based on the Influence of the I Ching.” DMA dissertation. Manhattan School of Music, 2002. Rebecca Clarke 1886–1979 1283. MacDonald, C. “Rebecca Clarke’s Chamber Music,” in Tempo, clx (March 1987), 20–2. 1284. Curtis, Liane. “Rebecca Clarke and Sonata Form: Questions of Gender and Genre,” in The Musical Quarterly, lxxxi (1997), 393–429. An analysis primarily of the Sonata for Viola and Piano (1919) but also includes the piano trio, the duo for clarinet and viola, and other chamber pieces. 1285. Curtis, Liane, ed. A Rebecca Clarke Reader. Bloomington: Indiana University Press, 2004. ISBN: 025334395X. xvi + 241 pages. CD included. A collection of essays about and by Clarke, many concerning her chamber music and the chamber music of others. The chamber music items include Bryony Jones, “‘But Do Not Quite Forget’: The Trio for Violin, Cello and Piano (1921) and the Viola Sonata (1919) Compared,” and Rebecca Clarke, “The History of the Viola in Quartet Writing” and “The Beethoven Quartets as a Player Sees Them”. There are also 2 essays from Cobbett’s Cyclopedic Survey of Chamber Music: “Bloch, Ernest” and “Viola.” In addition, but not published here, are other essays by Clarke on Haydn’s Op. 76 No. 2, the Schubert Quartets, and the Mozart Quartets. Muzio Clementi 1752–1832 For a catalogue of Clementi’s chamber music, see Alan Tyson, Thematic Catalogue of the Works of Muzio Clementi (Tutzing: Hans Schneider, 1967), 136 pages. ML 134.C585T9. For a discussion of Clementi’s piano trios see Finscher 407.

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Samuel Coleridge-Taylor 1875–1912 1286. Carter, Nathan M. “Samuel Coleridge-Taylor: His Life and Works.” DMA dissertation. Peabody Institute of John Hopkins University, 1984. UMI 84–17662. DAI xlv.6A, p. 1566. 392 pages. Part 4 of the dissertation includes a detailed analysis of selected chamber music. 1287. Carr, Catherine. “From Student to Composer: The Chamber Works.” Black Music Research Journal, xxi, No. 2 (Fall 2001), 179–95. Samuel Coleridge-Taylor wrote 11 pieces of chamber music (a piano quintet, a clarinet quintet, a nonet, and a 5-movement Fantasiestücke for string quartet, among others) during his student years at the Royal College of Music in London (1890–97) but only 4 more (3 for violin and piano and 1 for cello and piano) until his death in 1912. His teacher, Charles Villier Stafford, believed in the importance of chamber music, and the models were by Brahms and Dvorák. Carr gives a brief survey of each of these works with historical data. Edward T. Cone 1917–2004 1288. Morgan, Robert P. “Edward T. Cone: String Sextet,” in Perspectives of New Music, viii, No. 1 (1969), 112–25. A technical analysis of the prevailing hexachords (groups of 6-note semi-rows) in Cone’s sextet (1966, for 2 violins + 2 violas + 2 cellos). Morgan explains the forms of the 3 movements. Paul Constantinescu 1909–63 1289. Berger, Wilhelm. “In Semnari despre Creatia de Camera a Eminentului Compozitor Paul Constantinescu,” in Muzica, xxiii, No. 12 (December 1973), 7–8. In Romanian. Characterizes Constantinescu’s chamber music. Arnold Cooke 1906–2005 1290. Gaulke, Stanley Jack. “The Published Solo and Chamber Works for Clarinet of Arnold Cooke.” DMA dissertation. University of Rochester, Eastman School of Music, 1978. DAI xxxix.6A, pp. 3209–10. 292 pages. Gaulke gives a brief biography of this contemporary British composer and pupil of Hindemith, followed by a discussion of style, form,

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texture, clarinet technique, and ensemble problems in 6 works. He includes a list of Cooke’s works and correspondence between Cooke and Gaulke. John Cooper ( = Giovanni Coprario) c.1570–1626 See the numerous writings on 17th-century English music above. 1291. Field, Christopher D.S. “Stephen Bing’s Copies of Coprario FantasiaSuites,” in Early Music, xxvii (1999), 311–17. A violist active at St. Paul’s and Westminster Abbey, Bing (1610– 1981) copied a large number of manuscripts, among which is a fragment of 3 consort suites by Coprario now at the New York Public Library. Comparing this fragment to a manuscript at the Eastman School Library in Rochester, Field determines that they were both copied by Bing and so relate to other consort manuscripts in England. Aaron Copland 1900–90 For a list of Copland’s chamber music, see Joann Skowronski, Aaron Copland: A Bio-Bibliography, in Bio-Bibliographies in Music, No. 2 (Westport [Connecticut]/London: Greenwood Press, 1985), pages 238–9. ML 134. C66S55.1985. ISBN 0-313-24091-4. 1292. Butterworth, Neil. The Music of Aaron Copland. New York: Universe Books/London: Toccata Press, 1985. ML 410.C7. ISBN 0-87663495-1. 262 pages. Butterworth presents the music of Copland in biographical order, with information on each piece’s origins and first performances and some brief commentary on the nature of the music. The Piano Quartet and Nonet receive a little more attention than the other chamber music. Butterworth includes a list of chamber music. 1293. Smith, Julia Frances. Aaron Copland: His Work and Contribution to American Music. New York: E.P. Dutton, 1955. ML 410.C756S5. 336 pages. PhD dissertation. New York University, 1950. 649 pages. En passant discussion of the few pieces of chamber music: Allegro for String Quartet (1921), Piano Quartet (1950), Rondino for String Quartet (1923), Vitebsk for Piano + Violin + Cello (1929), Two Pieces for String Quartet (1923, 1928), Sextet (1937 arr. for string quartet + clarinet + piano of Short Symphony, 1933), Sonata for Violin + Piano (1944), and 2 Pieces for Violin + Piano (1926). Their historical background and the principal influences on them are considered:

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jazz, American Western songs, Jewish music, Stravinsky, and so on. Smith analyzes in greater depth only the violin + piano sonata. 1294. Plaistow, Stephen. “Some Notes on Copland’s Nonet,” in Tempo, No. 64 (Spring, 1963), 6–11. After a review of Copland’s compositions and the expectations of his return to a more serious style in the 1950s, the Nonet (1960) comes across as a retreat into a charming, well-written, but highly conservative style. Plaistow offers a brief technical discussion. Roque Cordero 1917–2008 1295. Brawand, John Edward. “The Violin Works of Roque Cordero.” DMA dissertation. University of Texas at Austin, 1985. UMI 85–27503. DAI xlvi.10A, p. 2849. 125 pages. A study of Cordero’s Dos Piezas Cortas (1945), Sonatina for Violin + Piano (1946), and Violin Concerto (1962), each in a different style: tonal, early 12-tone, and mature 12-tone. Brawand includes also an assessment of musical life in Central America, a biography, and Cordero’s place in his native Panama. Arcangelo Corelli 1653–1713 For a catalogue and extensive bibliography of Corelli’s chamber music, see Hans Joachim Marx, Die überlieferung der Werke Arcangelo Corellis: Catalogue Raisonné, supplement volume to Arcangelo Corelli: historisch-kritische Gesamtausgabe der musikalischen Werke (Cologne: Arno Volk, 1980) ML 134. C67A25. ISBN 3-87252-121-7. 356 pages. 1296. Allsop, Peter. Arcangelo Corelli : New Orpheus of Our Times. Oxford/ New York: Oxford University Press, 1999. ML 410.C78 A8.1999. ISBN 0-19-816562-5. xii + 260 pages. The definitive scholarly study of the life of Corelli, including as much as is known about the situations for which he composed and performed his sonatas. Most of the book is an in-depth study of the compositions in their historical perspective, with Allsop’s The Italian “Trio” Sonata serving as a point of departure. Considerable attention is paid to the differences between the Roman and Bolognese Schools of violin playing and just where Corelli’s works fit into that comparison. Interestingly, Allsop prefers the term “free sonata” instead of “sonata da chiesa” for each piece in opera 1 and 3 since Corelli never used the latter terminology and since Corelli’s opera 1 and 3 are not consistently “sonate da chiesa.” After thorough discussion of

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each of the major works, Allsop considers Corelli’s legacy in Italy and elsewhere. This book replaces all previous studies of Corelli and his music. 1297. Durante, Sergio, and Pierluigi Petrobelli. Nuovissimi studi corelliani: Atti del Terzo Congresso Internazionale (Fusignano, 4–7 settembre 1980). Florence: Leo S. Olschki, 1982. ML410.C78C6.1980. ISBN 88-222-3096-5. 418 pages. The papers read at a congress in Florence in 1980 dealing with the life and works of Corelli. This is a basic scholarly source for any further study of Corelli and his music. The papers include: “Corelli’s ‘Ciacona’: Some Analytical Remarks” (Frits Noske); “Corelli’s Tonal Models: the Trio Sonata Op. III n. 1” (Christopher Wintle); “Problemi di Fraseggio nelle Sonate a tre di Arcangelo corelli” (Mario Baroni); “Procedimenti di chiusa nelle Sonate a tre di Arcangelo Corelli” (Rossana Dalmonte); “Intorno a una Tavola Rotonda: Previsti e Imprevisti” (Emilia Zanetti); “La Musica in Arcadia al tempo di Corelli” (Fabrizio della Seta); “‘Anfione in Campidoglio’: Presenza Corelliana alle Feste per i concorsi dell’Accademia del Disegno di San Luca” (Franco Piperno); “Corelli e il Cardinal Benedetto Pamphili: Alcune Notizie” (Renato Bossa); “Arcangelo Corelli collezionista” (Mercedes Viale Ferrero); “The Performance of Corelli’s Chamber Music Reconsidered: Some Characteristics of Structure and Performance in Italian Sonatas for One, Two and Three Voices in the Decades Preceding Corelli” (Niels Martin Jensen); “Keyboard Music by Corelli’s Colleagues: Roman Composers in English Sources” (Alexander Silbiger); “Restraint and Discipline: the Roman Conception of Arcadia” (Nicholas Anderson); “La ‘Guida Armonica’ di Giuseppe Ottavio Pitoni: un Documento sugli Stili Musicali in Uso a Roma al Tempo di Corelli” (Sergio Durante); “Corelli e Torelli: Concerto Grosso e Sonata con Tromba” (Wolf Dietrich Förster); “A Revival of Corelli: the Violinist-Composer Giuseppe Valentini’ (Michael Talbot); “L’Opera III di Corelli nella Diffusione Manoscritta: Apografi Sincroni e Tardi nelle Biblioteche dell’EmiliaRomagna” (Carlo Vitali); and “Due Apocrifi Corelliani” (Thomas Walker). 1298. Pincherle, Marc. Corelli, in Les Maîtres de la Musique, nouvelle série. Paris: Félix Alcan, 1933. Rev. Corelli et son Temps. Paris: Éditions Le Bon Plaisir, 1954. Corelli: His Life, his Work, trl. by Hubert E. M. Russell. New York: Norton, 1956. ML 410.C78P52. 236 pages, 29 musical examples. This is for the general reader as well as the scholar. Pincherle clears up a lot of biographical misinformation in previous studies and

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clearly describes and defines the genres of Corelli’s music. He discusses all the trio sonatas separately from the solo sonatas and the concerti grossi. He considers form, tonality (29 of the 48 trio sonatas are each entirely in 1 key; the 19 others change only for 1 slow movement), texture, harmony, ornamentation (Op. 5), violin technique (especially in La Folia), and much more. Some historical discussion is outdated. The bibliography lists the full title of each of the 6 opera and the many early editions of each, the arrangements of them by other composers, anthologies, manuscripts, and questionable works. 1299. Libby, Dennis. “Interrelationships in Corelli,” in Journal of the American Musicological Society, xxvi (1973), 263–87. Studies Corelli’s reuse of cliches in melody, tonal structure, and form, from 1 piece to the next. 1300. Deas, Stewart. “Arcangelo Corelli,” in Music and Letters, xxxiv (1953), 1–10. A naive and limited description of Corelli’s works, including misunderstood anecdotes and questionable opinions on the value of Opp. 2 and 4. 1301. Wintle, Christopher. “Corelli’s Tonal Models: the Trio-Sonata Op. 3, No. 1,” in S. Durante and P. Petrobelli, eds, Nuovissimi Studi Corelliani: Atti del Terzo Congresso Internazionale (Fusignano, 1980) (Florence: Societè Italiana di Musicologia, 1982), pages 29–69. ML 410.C78C6.1980. ISBN 88-222-3096-5. Studies Corelli’s significance to the history of music theory c.1700. That Schenker’s 18th-century theory can apply to late 17th-century Corelli shows “the fundamental historical importance of this music.” Corelli’s music is an elaboration of cadential models, which per se fits Schenker, but surface rhythmic configurations are also important in determining genre. For an important historical study leading to Corelli’s Op. 2, see John Daverio’s article and dissertation 286. 1302. Marx, Hans Joachim. “Some Unknown Embellishments of Corelli’s Violin Sonatas,” in The Musical Quarterly, lxi (1975), 65–76. An English manuscript of the mid-18th century, hitherto unknown, adds another highly-ornamented version of the Corelli solo sonatas to those already known (Marx lists 7 such versions including his new one). He demonstrates the style and taste of ornamentation of the time and how these oldest permanent pieces in the chamber repertory have survived despite changes in the taste and style of different epochs.

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1303. Boyden, David D. “Corelli’s Solo Violin sonatas ‘Grac’d’ by Dubourg,” in Festskrift Jens Peter Larsen 1902 14.VI.1972 (Copenhagen: Wilhelm Hansen Musik Forlag, 1972), 113–25. ML 55.L215.1972. An analysis of the ornaments of certain movements of Corelli’s solo violin sonatas by Matthew Dubourg (1703–67), a pupil of Geminiani, who was himself a pupil of Corelli. While Corelli ornamented only slow movements, Dubourg ornaments both slow and fast movements and also dance-like movements. Dubourg’s graces are rare examples by an English violinist. Boyden lists all known ornamented versions of Corelli’s solo sonatas and then gives biographical information on Dubourg (who as concertmaster of the Viceroy’s Band in Dublin was involved in the premier of Handel’s Messiah). He describes the Dubourg manuscript in detail, including watermarks, page sizes, and so on. He goes into the actual graces themselves, from simple passing tones and appoggiaturas to extensive gorge; the simpler ones, less disruptive, are in the fast movements, while the fancier graces, often disrupting the rhythm, are in the slow movements. Only fugue passages are not graced. 1304. Pavanello, Agnese. “Corelli tra Scarlatti e Lully: una nuova fonte della sonata WoO2,” in Acta Musicologica, lxxi (1999), 61–75. Compares the published version of Corelli’s sonata a tre in an edition by Estienne Roger in Amsterdam in 1699 (not 1 of the 6 regular Corelli opera) with an anonymous source of the sonata in a manuscript with works otherwise by Lully—a source unknown to the editor of the modern edition of Corelli’s works. 1305. Cherry, Norman. “A Corelli Sonata for Trumpet, Violins and Basso Continuo,” in Brass Quarterly, iv (1960–1), 103–13. Authenticates this sonata in D major found in 2 copies in Naples, Library of the Conservatorio. It has 5 movements, of which the fourth is scored for trumpet + continuo without violins. Cherry speculates that Corelli may have written the sonata in 1689 when he visited Bologna and heard similar music composed for the Feast of San Petronio (October 27). See also Cherry, “A Corelli Sonata for Trumpet, Violins, and Basso Continuo: A Postscript,” in Brass Quarterly, ii (1960–61), 156–58. It incorporates findings by Michael Tilmouth, “Corelli’s Trumpet Sonata,” in Monthly Musical Record, xc (1960), 217–21, which corroborate Cherry’s article. Tilmouth cites an incomplete copy in Trinity College Music Library, London, and quotes an announcement in The Daily Courant (London newspaper), March 16, 1713, of a concert by Mr. Twiselton, trumpeter, who is to play a Corelli sonata composed for him.

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1306. Edwards, Owain. “The Response to Corelli’s Music in EighteenthCentury England,” in Studia musicologica norvegica, ii (1976), 51–96. In describing Corelli’s music and influence in England, Edwards takes into account the changing audience and changing taste of the 17th- and 18th-century public. He covers public concerts in the 17th century and how they prepared the English for Corelli’s music. Then he gives an account of the pupils of Corelli and others who came to London and popularized his music (especially Geminiani), and he cites reviews and editions of Corelli’s music in England from Playford in 1693 to 1715. A final section concerns the popularity of Corelli’s music after 1715 until the mid-19th century. John Corigliano b.1938 1307. Bobetsky, Victor V. “An Analysis of Selected Works for Piano (1959–78) and the Sonata for Violin and Piano (1964) by John Corigliano.” DMA dissertation. University of Miami, 1982. DAI xliv.1A, p. 10. 109 pages. Analyzes harmony, form, melody, and rhythm in the sonata. François Couperin 1668–1733 1308. Mellers, Wilfrid H. “Couperin’s Suites for Two Viols,” in The Score, ii (January 1950), 10–17. The last published works of Couperin, in 1728, these 2 suites are for 2 viols, one of which is figured. Mellers reviews the viol’s history as a virtuoso instrument in France from 1660 on and the chamber music for viol of other composers in France. He discusses these 2 pieces. There are 2 possible scorings: for 2 solo viols in duet, or for 1 solo viol accompanied by the second viol and continuo. Mellers analyzes briefly each of the movements and quotes in full the “pompe funèbre” of the A major Suite. 1309. Beaussant, Philippe. “La Musique de Chambre,” in François Couperin (Paris: Arthème Fayard, 1980), 229–324. ML 410.C855B4. ISBN 2-213-00896-5. In French. This is for a lay audience. The chamber music section discusses briefly the sonatas en trio, les Nations (sonades et suites de cimphonies en trio), Concerts Royaux 1–14, and Pièces for viol. Beaussant gives a brief history of Couperin’s chamber music in general and each collection

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in particular, and a brief, non-technical discussion of each movement. But there are only superficial remarks on viol technique and there is no discussion of Couperin’s handling of ensemble and the non-harpsichord part(s). 1310. Mellers, Wilfrid. “The Two-Violin Sonatas,” and “The Concerts Royaux and Suites for Viols,” in François Couperin and the French Classical Tradition (London: D. Dobson, 1950; New York: Roy Publishers, 1951), 97–127 and 234–71. ML 410.C855M4. Mellers discusses the dichotomies of voice and instrument (polyphony versus homophony) and da chiesa and da camera in Couperin’s trio sonatas. This broad approach to the music would be effective if it were not founded on errors of concept and history. Henry Cowell 1897–1965 1311. Manion, Martha. Writings about Henry Cowell: An Annotated Bibliography, in Institute for Studies of American Music, No. 16. Brooklyn: City University of New York, 1982. ISBN 0-914678-17-5. xi + 369 pages. Manion makes reference to studies and reviews of Cowell’s chamber music including such unusually titled works as Quintet for String Quartet and Thundersticks, Quartet Pedantic, Solo for Violin with String Piano, and Solo for Violin with Thunderstick, as well as normally titled (but not necessarily normal sounding) works like 5 string quartets, Suite for Violin and Piano, Suite for Woodwind Quartet, Sonata No. 1 for Violin and Piano, and so on. Paul Creston 1906–85 1312. Sibbing, Robert Virgil. “An Analytical Study of the Published Sonatas for Saxophone by American Composers.” EdD dissertation. University of Illinois, 1969. UMI 69–15389. DAI xxx.3A, p. 1197. 184 pages. Sibbing analyzes the form, melodic and phrase structure, harmony, rhythm, counterpoint, and other factors of sonatas for alto saxophone + piano by Creston, Heiden, Hindemith, Kanitz, and Tuthill. He puts a special emphasis on performance and teaching problems of each work. Henri-Jacques de Croes 1705–86 1313. Clercx, Suzanne. Henri-Jacques de Croes: Compositeur et Maître de Musique du Prince Charles de Lorraine 1705–86. Bruxelles, Palais des

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académies, 1940. 2 vols. HML 2147.15.13. I: v + 92 pages; II: cxxvii pages (index, bibliography, thematic catalogue, letters, and documents). Parts of this book appeared first in Beaux-Arts, vii (1937), fassimiles 3A-B. Clercx describes the musical form, tonalities, tempos, and meters in 3 collections of trio sonatas by this French composer: (Opp. 1 and 3: 2 violins or 2 flutes + continuo; Op. 4: 2 violins or 2 flutes + optional cello + continuo). George Crumb b.1929 1314. Kim, Ji Hun. “Compositional Procedures in George Crumb’s String Quartet Black Angels and Composition of an Original String Quartet, Threnody for Victims of 9.11.” DA dissertation. New York University, School of Education, 2002. x + 144 pages. The thesis is contained in the first 101 pages. It is a description of the form, texture and melody of each of the movements of the Crumb piece. Bernhard Henrik Crusell 1775–1838 1315. Spicknall, John Payne. “The Solo Clarinet Works of Bernhard Henrik Crusell (1775–1838).” DMA dissertation. University of Maryland, 1974. UM 74–29112. DAI xxxv.6A, pp. 3800–1. 297 pages. A catalogue of 33 works (some non-extant) by this Swedish court composer and clarinetist. Of these works, 14 feature the clarinet (3 concertos, 3 quartets, duets, smaller solo pieces, and miscellaneous ones). Spicknall analyzes primarily 1 concerto, 1 clarinet quartet, and l clarinet duet. Crusell’s style is early Romantic, and his clarinet technique has a wide tessitura, color effects, non-patterned articulations, disjunct leaps, and de-emphasis of the bar lines. Nancy Dalberg 1881–1949 1316. Jensen, Lisbeth Ahlgren. “‘En komponerende dame’: Modtagelsen af Nancy Dalbergs musik i samtiden ô.” In Fund og Forskning i Det Kongelige Biblioteks Samlinger, xlv (2006), 79–106. Newspaper reviews of the performances of Nancy Dalberg’s compositions (1915–37) devoted great attention to her, but became critical and

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amazed that a woman would struggle with the symphonic genre. Due to lack of performance opportunities, she ceased to compose large-scale orchestral work, but concentrated on chamber music and songs. Franz Danzi 1763–1826 For a list of Danzi’s chamber music, see Volkmar von Pechstaedt, Thematisches Verzeichnis der Kompositionen von Franz Danzi (1763–1826). Tutzing: Hans Schneider, 1996. ISBN 3-7952-0840-8. xxxvii + 203 pages. 1317. Hoff, Helen Arlene. “The Bassoon in Eight Quartets for Bassoon, Violin, Viola, and Cello Written c.1800.” DMA dissertation. University of Oregon, 1976. DAI xxxvii.12A, p. 7393. xi + 200 pages. This is a comparative analysis of form, keys, range, and so on, in 8 bassoon quartets by Danzi, Carl Stamitz, J.C. Vogel, Devienne, and Franz Krommer, from the standpoint of a bassoon player. Vogel, Krommer, and Devienne treat the bassoon as a soloist; Stamitz treats it as an equal member of the ensemble without exploiting any of the instrument’s special qualities; Danzi treats all instruments equally but takes advantage of unique bassoon qualities. Stamitz’s compositions are the easiest and Danzi’s the hardest. Johann Nepomuk David 1895–1977 1318. Thalheimer, P. “Kammermusik mit Blockflöte von Johann Nepomuk David (1895–1977).” TIBIA, xxvi, No. 2 (2001), 460–7. Summary in English. Among David’s chamber compositions are 2 works that include the recorder: a set of variations on his own theme (1943) for lute and recorder and a concertino for viola, 2 recorders, and lute (1944). Thalheimer shows that the printed editions are full of errors, partially owing to the confusion as to which type of recorder was intended. He rates the 2 pieces as high quality works, comparable to Hindemith’s compositions for recorder, and claims that they were meant for professional ensembles, not amateurs. Peter Maxwell Davies b.1934 For a description and discography of Davies’s chamber music, see Davies’s The Complete Catalogue of Published Works (London: Judy Arnold, 1981), pages 38–46. ML 134.D25P5. 1319. Griffiths, Paul. Peter Maxwell Davies, in The Contemporary Composers. London: Robson Books, 1982. ML 410.D. ISBN 0-86051-138-3. 196 pages.

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Lists Davies’s chamber music for various instruments, and analyzes the string quartet (1961) in detail. Claude Debussy 1862–1918 For a catalogue of Debussy’s chamber music, see François Lesure, Catalogue de l’Oeuvre de Claude Debussy, in Publications du Centre de Documentation Claude Debussy, No. 3 (Geneva: Minkoff, 1977). ML 134.D26L5. ISBN 2-8266-0657-3. For a bibliography of writings about Debussy’s music, including chamber music, see Claude Abravanel, Claude Debussy: A Bibliography, in Detroit Studies in Music Bibliography, No. 29 (Detroit: Information Coordinators, 1974), 214 pages. ML 134.D26A2. ISBN 0911772-49-9. For a general discussion of his chamber music within the history of 19th-century French music, see Fauquet’s article in 215. 1320. Wilson, Eugene Norman. “Form and Texture in the Chamber Music of Debussy and Ravel.” PhD dissertation. University of Washington, 1968. UM 68–12723. DA xxix.3A, p. 927. iv + 272 pages Wilson contrasts the different paths Debussy and Ravel take after starting in nearly the same place. He compares form and harmony in their early string quartets: both are mainly tonal with some pentatonicism, and both regard sonata form as ternary without the traditional polarity of tonic-dominant. Late Debussy comes up with entirely new sounds, forms, and silences, while late Ravel retains much of his earlier style. 1321. Seraphin, Hellmut. “Debussys Kammermusikwerke der mittleren Schaffenszeit: analytische und historische Untersuchung in Rahmen des Gesamtschaffens unter besonderer Berücksichtigung des Ganztongeschlechts.” Inaugural dissertation. University of Erlangen, 1962. HML 2236.188. 144 pages. Lengthy, technical analysis of harmony and especially the whole-tone scale’s effect on the various aspects of Debussy’s Première Rhapsodie (1910) for clarinet + piano. Seraphin also considers the same question in Petite Pièce for clarinet + piano, Syrinx for flute, and briefly the string quartet and 3 late sonatas. 1322. Krein, Iulian Grigor’evich. Kamerno-instrumental’nye Ansembli Debussi i Ravelia. Moscow: Muzyka, 1966. MT 140.K73. 112 pages. In Russian. Krein gives a piece by piece analysis of structure and the use of different scales to achieve impressionistic effects in the major chamber works: first those by Debussy, and then those by Ravel. This is written for the general audience.

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1323. Shera, Frank Henry. “Quartet for Strings, Op. 10 (1893, published 1895),” in Debussy and Ravel (London: Oxford University, 1925), 29–35. MT 92.D3S5. The 2 composers are basically miniaturists who think homophonically in colors. Their quartets are not of the same level as their shorter works, since quartets are long and basically contrapuntal. Shera gives a measure by measure analysis of themes, rhythm, texture, and form, with occasionally appropriate, overblown adjectives (“murmuring arpeggios” or “the second movement has a freakish, gnome-like character”) but more often with pedestrian facts. 1324. Yih, Annie Ka-Po. “Continuity and Formal Organization in Debussy’s String Quartet.” PhD dissertation. Yale University, 1992. DAI Vol. liv (July 1993), p. 25A. 347 pages. Technical analysis using tonal, atonal, and modal elements to detect the motivic design. 1325. Code, David Jonathan. “Debussy’s String Quartet in the Brussels Salon of ‘La libre esthétique.’” 19th Century Music, xxx, No. 3 (Spring 2007), 257–87. Code makes an analysis of the first movement of the Debussy string quartet by adapting principles of composition used by Beethoven and by considering the “Tristan Chord” of Wagner as a generating factor. The second performance of the quartet, in Brussels on March 1, 1894, was in a series of 4 chamber music concerts by the Ysaye Quartet in 3 of which Beethoven was featured along with Vincent D’Indy, César Franck, and Ernest Chausson. Thus the juxtaposition of Beethoven and post-Wagnerian French chamber music with that by Debussy suggests this kind of analysis, especially since it did so to the originally intended audience. Furthermore, the 4 Ysaye concerts were in conjunction with a large art exhibition, and Code also considers the relationship of the Debussy quartet to the works of some of the artists, particularly Maurice Denis. This traditional, nonSchenkerian analysis—despite some complexities of language—should be a basis for any further study of this piece. 1326. Hartke, Stephen Paul. “Comparative Aspects of the Treatment of the ‘Harmonic Envelope’ in the First Movements of Debussy’s Quartet in G Minor and Ravel’s Quartet in F Major.” PhD dissertation. University of California in Santa Barbara, 1982. UMI 84–00037. DAI xliv.10A, p. 2921. 31 pages. Hartke is concerned with how Debussy and Ravel were able to create a sense of increasing and decreasing tension while employing static

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harmonic regions ( = harmonic envelopes). He offers a new system to describe compositional procedures in such music and, through this new system, finds that Debussy gains structural contrast by gradually shifting from complex, denser pitch-sets to simpler ones, whereas Ravel moves “from diatonic envelopes to octatonic pitch sets and back to diatonic again.” 1327. Hedges, Bonnie Lois. “The Structural Significance of Duration and Concepts of Linear and Cyclical Movement in Two Chamber Works of Claude Debussy.” PhD dissertation. University of Texas, 1976. UMI 77–3911. DAI xxxvii.8A, p. 4685. 171 pages. Hedges is concerned with the dynamic continuity of music as exemplified in the String Quartet and the Sonata for Flute, Viola, and Harp. She finds the quartet goal-oriented on a linear course, the sonata (cyclic variations) a multi-layered texture of relatively independent rhythmic patterns. The quartet is therefore traditional, while the sonata is a “link in the trend toward interacting of world cultures and disciplines that distinguished twentieth-century civilization in general” and new musical expression in particular (Meyer’s stasism). 1328. Wheeldon, Marianne. “Debussy and ‘La sonate cyclique.’” The Journal of Musicology, xxii (Fall 2005), 644–79. In 1915, Debussy returned to the genre of chamber music for the first time since the string quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy’s quartet clearly bears the imprint of César Franck’s cyclic procedures, his sonatas engage with this tradition more cautiously. 1329. Whitman, Ernestine. “Analysis and Performance Critique of Debussy’s Flute Works.” DMA dissertation. University of Wisconsin, 1977. DAI xxxviii.11A, p. 6393. 126 pages. Concentrates on Syrinx and the Sonata for Flute + Viola + Harp. Dynamics and rhythm create an increase of momentum from the first to the last movement of the sonata, which must be understood by the performer. 1330. Allen, Judith Shatin. “Tonal Allusion and Illusion: Debussy’s Sonata for Flute, Viola and Harp,” in Cahiers Debussy, Nouvelle Sèrie, No. 7 (1983), 38–48. Allen traces the disintegration of traditional tonality through the 3 movements of this sonata, where the tritone relationship of F-B is stressed and where assumptions of tonal expectancy are distorted.

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For example, the usual tonic to dominant (linearly) is replaced by tonic to submediant (linearly) in the tonic triad. Despite the distortions, there is a linear tonality (F) that is brought to a decisive conclusion at the end of movement 3 in its coda. 1331. Rauss, Denis-François. “Ce Terrible Finale: les Sources Manuscrites de la Sonate pour Violon et Piano de Claude Debussy et la Genèse du Troisième Mouvement,” in Cahiers Debussy, Nouvelle Sèrie, no. 2 (1978), 30–62. This is for the scholar: a detailed comparison of the manuscript sources with each other and with the final version. Rauss refers to Debussy’s own comments about the piece in his letters. He shows how Debussy composed and corrected himself and speculates on the chronology of the sources and on the internal order of the work. 1332. Moevs, Robert. “Intervallic Procedures in Debussy: Serenade from the Sonata for Cello and Piano, 1915,” in Perspectives of New Music, viii, No. 1 (1969), 82–101. Moevs shows that a pattern of intervals is presented by Debussy at the opening of this movement and that he then builds his music out of these intervals. There are 3 notes ascending in half steps (A-flat – A – B-flat) that are followed by 3 more (C# – D – E-flat) and then they are rounded off by a whole step (G-flat – A-flat) that completes the octave. The first 2 groups of half steps are separated by a minor third (in turn, 3 half steps) and then the second group of 3 is likewise separated from the whole step by a minor third. The expansion from half to whole step is the next stage—the juxtaposition of 2 sound systems—and the 2 operate within antipodes of musical space delineated by perfect fifth and tritone. 1333. Sômer, Avo. “Fantasque, Ironique: An Interpretation of the Sérénade of Debussy’s Cello Sonata.” In A Composition as a Problem IV/ 1: Procedings of the Fourth International Conference on Music Theory Tallinn, April 3–5, 2003 (Tallinn: Eesti Muusikaakadeemia, 2004, ISBN 9985-9496-2-5), 145–58. This is a detailed Schenkerian analysis of the third and final movement of Debussy’s violoncello-piano sonata that also accounts for the sporadic nature of the tonal design and phrase structure. Sômer then dwells on the commedia del arte aspects of the movement and draws parallels with cubist art contemporaneous with the sonata. 1334. Nygren, Dennis Quentin. “The Music for Accompanied Clarinet Solo of Claude Debussy: An Historical and Analytical Study of the Première Rhapsodie and Petite Pièce.” DMA dissertation.

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Northwestern University, 1982. UMI 84–00759. DAI xliv.10A, p. 2922. 183 pages. Nygren analyzes and compares these 2 works of 1910, which demonstrate important characteristics of Debussy’s style. This dissertation is rich in references and historical documentation. It gives a measure by measure masterclass on performing the Rhapsodie. Conrado del Campo y Zabaleta 1878–1953 1335. Fernández Cortés, Juan Pablo. “El Cuarteto en La mayor ‘Carlos III’ de Conrado del Campo, un modelo tardío de síntesis entre lo popular y lo culto.” Revista de Musicología, xxvi (2003), 265–86. Includes abstracts in English and Spanish. Frederick Delius 1862–1934 1336. Huismann, Mary Christison. Frederick Delius: A Guide to Research. New York: Routledge, 2005. ISBN 0415941067. A bibliography of works by Delius and works on Delius. He wrote 3 string quartets and several sonatas for violin or cello and piano. Writings about his chamber music are listed on pages 190–91. 1337. Hutchings, A.J.B. “The Chamber Works of Delius,” in The Musical Times, lxxvi (1935), 17–20, 214–16, 310–11, and 401–3. A lengthy defense of Delius with analyses of the principal themes of the 3 violin + piano sonatas, the Sonata for Cello + Piano, the String Quartet, and piano pieces. Hutchings rhapsodizes on their beauties without much critical attention. 1338. Bacon-Shone, Frederic. “Form in the Chamber Music of Frederick Delius.” PhD dissertation. University of Southern California, 1976. RILM 76–15449. 1339. Foss, Hubert. “The Instrumental Music of Frederick Delius,” in Tempo, No. 26 (Winter, 1952–3), 30–7. Foss places the 3 violin + piano sonatas and the Cello + Piano Sonata into the perspective of Delius’s oeuvre. He compares Delius to Brahms: the former lacks the rhythmic verve of the latter, but Delius never pads his works whereas Brahms often does so to fill out predetermined forms. 1340. Beechey, Gwilym. “Delius’s Violin Sonatas.” Musical Opinion, cvii (June 1984), 259–61.

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1341. Neil, Gregory Alan. “The Violin and Piano Sonatas of Frederick Delius.” DMA dissertation. Boston University, 2006. DAI, lxvii, No. 1 (July 2006), page 30A. xvi + 186 pages. A discussion of Delius’s 3 sonatas for violin and piano written between 1914 and 1930. Neil makes only a passing mention of the 1892 violin–piano sonata. He gives a biography of Delius and the historical aspects of the sonatas, and he analyzes them in the context of the violin-piano genre in general and Delius’s own style as also reflected in other pieces of his. The pieces are difficult to play, despite the composer’s belief in simplicity. Delius’s opinion of other composers and their opinions of him are quoted. 1342. Threlfall, Robert. “Delius’s Violin Sonata (No. 1),” in The Delius Society Journal, No. 74 (January 1982), 5–12. Threlfall studies the large number of manuscripts, proofs, and the first edition of this 1917 sonata and then the differences among them. He specifies notes and phrasings that are not correct in the printed score. Norman Dello Joio 1913–2008 1343. Steffan, Andrea J. “Selected Piano Works by Norman Dello Joio.” DMA dissertation. University of Cincinnati, College – Conservatory of Music, 2001. iii, 97 leaves. OCLC: 48572726. A biography of Dello Joio and mention of his 1937 Piano Trio. Dejan Despic´ b.1930 1344. Radovic, Branka. “Dejan Despic, ‘Pesmarica’ (1950–2004).” New Sound, xxvii (2006). Online. A lengthy analysis of the Serbian Despic´’s compositions inspired by poetry. Among these works is chamber music in various combinations of instruments: duet (oboe and harp, flute and guitar), quartet (flute and string trio), and a nonet with the harp. François Devienne 1759–1803 1345. Kennedy, Dale Edwin. “The Clarinet Sonata in France before 1800 with a Modern Performance Edition of Two Works.” PhD dissertation. University of Oklahoma, 1979. UMI 80–12284. DAI xl.12A, pp. 6061–2. 247 pages.

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Kennedy discusses late-18th-century clarinet performance practice with special emphasis on Devienne. He gives a biography, an edition of 2 of his sonatas, and the history of the clarinet sonata in France to 1800. See also Helen Hoff ’s dissertation 1317. David Diamond 1915–2005 1346. Binder, Daniel Ambrose. “A Formal and Stylistic Analysis of Selected Compositions for Solo Accordion with Accompanying Ensembles by Twentieth-Century American Composers with Implications of their Impact upon the Place of Accordion in the World of Serious Music.” DMA dissertation. Ball State University, 1981. DAI xlii.10A, p. 4194. 209 pages. One of the works discussed is Diamond’s Night Music for accordion and string quartet. James Dillon b.1950 1347. Whittall, Arnold. “James Dillon, Thomas Adès, and the Pleasures of Allusion.” In Aspects of British Music of the 1990s, Peter O’Hagan, ed. (Aldershot/Burlington (VT): Ashgate, 2003, ISBN 0754630412), Chapter 3, 3–27. A discussion of Dillon’s Third String Quartet (1998) and the string quartet “Arcadiana” (1994) by Adès (b.1971). The analyses of the pieces consider the composers’ allusions to prior works by them and others, and are concerned with such fundamental issues as to whether these allusions are made by the composer or by the analyst. Whittall finds that this allusion, in these 2 quartets, “marks a relation to a model as much (if not more) in terms of forgetting, or distancing, as of remembering.” Karl Ditters von Dittersdorf 1739–99 1348. Rigler, Gertrude. “Die Kammermusik Dittersdorfs,” in Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, Band 14 (Vienna: Universal-Edition, 1927), 179–212 + xi-xiii. Rigler seeks the roots of Dittersdorf ’s style in Vienna under Wagenseil rather than in Mannheim, and considers the importance of his style for the later Haydn and Mozart. She characterizes Dittersdorf ’s chamber music: most quartets and quintets are in 3 movements with a minuet as the second movement; first movements are in sonata

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form, and he also uses Lied-Romance, minuet, rondo, and variation forms. Spiritually, Dittersdorf stands near Haydn, and he was more highly regarded than Mozart in his own day. 1349. Unverricht, Hubert. “Carl Ditters von Dittersdorf als Quartettkomponist: Ein Konkurrent Haydns, Mozarts und Pleyels?” in Haydn-Studien, Vol. vii (February 1998), 315–27. 1350. Unverricht, Hubert. “Die Streichquintette Dittersdorf,” in Studien zur Musikgeschichte: Festschrift für Guido Adler zum 75. Geburtstag (Vienna/Leipzig: Universal Edition, 1930), 187–9. ML 55.A2S8. Dittersdorf wrote these 6 quintets (2 violins + viola + 2 cellos) for Fredrich Wilhelm II of Prussia (an amateur cellist) but there is no evidence they were performed in 1789 and they have remained unpublished until now. Each is in 3 movements. The technical demands of the first violin and first cello are considerable, but the viola and second cello are mere accompaniment. Unverricht provides brief descriptions of each quintet. They were influenced by Mozart and Haydn, yet also resemble early Beethoven. 1351. Badura-Skoda, Eva. “Dittersdorf über Haydns und Mozarts Quartette,” in Collectanea Mozartiana (Tutzing: Hans Schneider, 1988), 41–50. Reproduction of 2 letters written by Dittersdorf to the Viennese publisher Artaria in 1788 in which the prominent violinist negotiates for the publication of his 6 string quartets. Since this is the first time that the first letter has been discussed in musicological writing, the author felt the need to print a facsimile of it. In the letter, Dittersdorf compares his quartets to those by Haydn, Mozart, and Pleyel. Badura-Skoda puts Dittersdorf, who played string quartets with Haydn and Mozart, into context. Ignacy Feliks Dobrzynski 1807–67 1352. Smialek, William. Ignacy Feliks Dobrzynski and Musical Life in Nineteenth-Century Poland, in Studies in the History and Interpretation of Music, Vol. 33. Lewiston: Edwin Mellen Press, 1991. ISBN 0-88946-230-5. ML410.D6895S6.1991. xvii + 195 pages. Dobrzynski was a minor Polish composer, who composed 3 string quartets, 2 string quintets, and a string sextet, as well as a handful of other chamber works. Most of his chamber music comes early in his career and exudes Polish nationalism. This will probably remain the definitive biography and study of his music in English.

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Ernö (Ernst von) Dohnányi 1877–1960 1353. Tovey, Donald Francis. “Dohnányi’s Chamber Music,” originally in Cobbett 10, reprinted in Essays and Lectures on Music, ed. Hubert Foss (London/New York/Toronto: Oxford University Press, 1949), 302–10. ML 60.T665.1949. Tovey notes Brahms’s influence on Dohnányi, though in rhythm Dohnányi was his own master. He analyzes for the layperson or the scholar each of the first 8 chamber pieces: 2 quintets, 3 string quartets, 1 string trio, and 2 sonatas (violin + piano and cello + piano). This is rich prose rather than detailed analyses. 1354. Schneider, Herbert. “Zur musikhistorischen Stellung der frühen Kammermusikwerke Ernst von Dohnányis.” In Zwischen Volks-und Kunstmusik: Aspekte der ungarischen Musik, Stefan Fricke, Wolf Frobenius, Sigrid Konrad, and Theo Schmitt, eds (Saarbrücken: Pfau, 1999, ISBN 3897270625). Dohnányi’s first quartet (1899) precedes Bartók’s first surviving quartet as well as those by Kodály, and he writes his last in 1926, before Bartók’s third. After describing these 3 quartets, Schneider describes briefly the Violoncello Sonata Op. 8 (1899), the Violin Sonata Op. 21 (1912), and the sextet for piano, violin, viola, violoncello, clarinet, and horn, Op. 37 (1934). The Op. 1 Quintet is left for Winkler to discuss in the same volume. 1355. Kovacs, Ilona. “Dohnanyi Erno zeneszerzoi muelyeben: Az I., A-dur vonosnegyes (op. 7) I. tetelenek szuletes” [In Erno Dohnanyi’s workshop: The compositional process of the first movement of the String Quartet No. 1, in A major (Op. 7)]. In “Somfai Laszlo 70. szuletesnapja tiszteletere” [Honoring Laszlo Somfai’s 70th birthday], Magyar zene, xliii (May 2005), 155–78. A study of the draft and fair copy of Dohnanyi’s first string quartet. 1356. Winkler, Heinz-Jürgen. “Ernst von Dohnányis Klavierquintett c-Moll opl. 1: Rezeption und Codagestaltung.” In Zwischen Volks-und Kunstmusik: Aspekte der ungarischen Musik, Stefan Fricke, Wolf Frobenius, Sigrid Konrad, and Theo Schmitt, eds (Saarbruücken: Plau, 1999, ISBN 3897270625), 91–109. After pointing out how impressed Brahms was with this early chamber work by Dohnányi, Winkler shows how the latter borrowed the idea of structuring codas from earlier portions of a work (a feature of every movement of the quintet) from Brahms.

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Gaetano Donizetti 1797–1848 Apparently there is no study of Donizetti’s 18 string quartets, written for the ensemble in which his teacher Simon Mayr was the violist. There is useful but limited information in William Ashbrook, Donizetti and his Operas, 2nd ed. (Cambridge: Cambridge University Press, 1982), ML 410.D7A83. 1982, ISBN 0-521-23526-X. Matt Doran b.1921 See Charles Del Rosso’s “A Study of Selected Solo Clarinet Literature of Four American Composers … ” 1087 for a discussion of his Sonata for Clarinet + Piano. Jean Roger-Ducasse 1873–1954 1357. Ceillier, Laurent. Roger-Ducasse: le Musicien – l’Oeuvre. Paris: A. Durand et Fils, 1920. HML 2360.15.12. A brief discussion of his string quartet and piano quartet. Ceillier describes form, motives, and rhythm. In the string quartet, he notes the use of the principal motive of movement 1 in the scherzo in augmentation, and the use of F.A.U.R. as the theme of movement 4. Tan Dun b.1957 1358. Chang, Peter. “Tan Dun’s String Quartet Feng-Ya-Song: Some Ideological Issues,” in Asian Music, Vol. xxii (1991), 127–58. Antonin Dvorák 1841–1904 A useful reference to the chamber works of Dvorák is: 1359. Cervinková, Blanka, et al, eds. Antonín Dvorák (8.9.1841–1.5.1904): Bibliograficky Katalog/ Bibliographical Catalogue. Prague: Mestská Knihovna, 1991. ISBN 8-0850-4107-3. 187 pages. A catalogue of the holdings in the City Library and National Library of Prague of the works of Dvorák. Chamber works are listed on pages 26 to 50 and include title, scoring, titles of movements, publishing information on each edition held by the libraries, recordings with recording artists and record labels, and call numbers. 1360. Sourek, Otakar. Dvorákovy Skladby Komornì: Charakteristìka a Rozbory. Prague: Hudebni matice Umelecke Besedy, 1949. MT 145.

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D8S7.1949. 213 pages. The Chamber Music of Antonin Dvorák, abridged English trl. by Roberta Finlayson Samsour. Prague: Artis, 19[56]. MT 145.D8S72. 177 pages. Reprint of the English trl. Westport (Connecticut): Greenwood Press, 1978. MT 145.D8S72.1978. ISBN 03–13205418. Discussion of the major chamber music by Dvorák, arranged by genre. In the early chamber works, which are not analyzed, Sourek shows Dvorák learning to control traditional forms and balancing this control with imaginative invention. Each analysis of the later works opens with a brief but rich historical note (Sourek has also written the major Czech biography of Dvorák in 4 volumes). The analyses themselves are not technical: they are often poetic, but also factual, concentrating on tonality and the nature and location of themes. This is a basic handbook for Dvorák’s chamber music and a basic work upon which more specialized and detailed studies need be based. 1361. Kull von Niederlenz, Hans. Dvorák’s Kammermusik, in Berner Veröffentlichungen zur Musikforschung, Heft 15. Bern: Paul Haupt, 1948. MT 145.D8K8.1948a. x + 203 pages, 327 examples. This is a basic, thorough, technical study concerned with the melody and rhythm in Slavic folk music and in Dvorák’s music: the 4-voice movement, including non-thematic melody; inner voices; various styles and textures; and the forms. The author finds that Dvorák rarely uses a melody in violin 1 with the rest of the instruments repeating chord tones in simple accompaniment as in Haydn, Mozart, and Beethoven; rather, if his inner voices accompany, the parts are wildly moving arpeggios that are mainly distinguished from the solo theme in the first violin by rhythmic activity. Dvorák’s use of pentatonic is derived from Slavic folk music originally and is too developed in his music to be a casual influence of his American years. For a non-technical introduction to Dvorák’s chamber music, see John Clapham’s essay in Alec Robertson, ed. Chamber Music 212, and Katz and Beckerman’s chapter in 215. Feldgun 500 places Dvorák’s string quartets within the context of Central European chamber music. 1362. Schick, Hartmut. Studien zu Dvoráks Streichquartetten, in Neue Heidelberger Studien zur Musikwissenschaft, No. 17. Laaber: Laaber-Verlag, 1990. ISBN 3-89007-219-4. ML410.D99S34.1990. 347 pages. Revision of PhD dissertation. Ruprecht-Karls-Universität Heidelberg, 1989. This is a definitive study of the quartets of Dvorák, treated one by one or sometimes two at a time; Schick also considers fragments and

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revisions. He covers many topics, including in-depth comparisons of works by Dvorák with those by his predecessors (Beethoven, Schubert, Mendelssohn) and the music of his contemporaries (Wagner, Brahms), as well as comparisons of later Dvorák quartets with his earlier ones. He is very concerned with form and the development of motives. While he recognizes Dvorák’s use of Czech folk tunes, he views Dvorák’s quartets basically as being in the Germanic tradition, and although Dvorák influenced the next generation of Czech composers, he also influenced the next generation of Viennese composers: Zemlinsky and Schoenberg. 1363. Schick, Hartmut. “Ein Streichquartett aus einer neuen Welt: Dvoráks verfrühte Entdeckung der Moderne um 1870.” In Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002. Beiträge der Österreichischen Gesellschaft für Musik, Band 12, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds (Vienna: Doblinger, 2006, ISBN: 3900695814), 124–36. Dvorák’s 3 earliest quartets are strongly under the influence of Liszt and Wagner. The third (1870) is modeled on Liszt’s B minor Sonata and is considered here as a breakthrough into his own modern style and one of the most significant quartets of the 19th century. It is in 1 movement and lasts 36 minutes. 1364. Houtchens, Alan. “The F Major String Quartet, Opus 96,” in Dvorák in America: 1892–1895, ed. John C. Tibbetts (Portland [OR]: Amadeus Press, 1993), 228–37. Readable analysis of this very popular quartet. 1365. Beveridge, David. “Sophisticated Primitivism: The Significance of Pentatonicism in Dvorák’s American Quartet,” in Current Musicology, No. 24 (1977), 25–36. A thorough analysis of the final movement of the quartet and of the underlying pentatonicism of the whole piece. Pentatonicism is more than quotation of the scale, and Dvorák uses it in many works of non-American province in his quest for “important new creative possibilities.” It is not an attempt to be American. 1366. Krehbiel, Henry Edward. Antonin Dvorák’s Quartet in F Major, Op. 96. New York: H.A. Rost, 1894. MT 145.D8K7. 7 pages. An interesting document in the controversy as to what is American in this so-called “American” quartet. Written just after the work’s premier in 1893, Krehbiel (America’s leading music critic at the time) tried to prove the American inspiration for the melodies (from Southern Blacks and American Indians). He emphasized the beauty of Black

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songs, genuine American folk songs. Because of industrialization, “it is inconceivable that America shall add to her store of folk songs” and therefore they must be preserved and then utilized, as Dvorák has done, in creating American art music. See also Clapham’s analysis in 675, pages 147–56 of the kind of Indian music Dvorák would have heard. A technical analysis of the first movements of Smetana and Dvorák quartets is in 2311. 1367. Kim, Jinyoung. “The Compositions for Violin and Piano of Antonin Dvorák.” DMA dissertation. Boston University, 1999. DAI, lx (April 2000), p3569A+. vii + 153 pages. A survey of the 5 pieces for violin and piano written from 1875 to 1894 and suggestions for their performance. 1368. Case, Barbara Betty Bacik. “The Relation between Structure and the Treatment of Instruments in the First Movements of Dvorak’s Piano Trios Opus 21, 26, and 65.” DMA dissertation. University of Texas, 1977. DAI xxxviii.12A, p. 7011. 64 pages. Case shows how 18th-century concerto features such as tutti, concertino, and solo highlight structural aspects in Dvorák’s trios and help clarify the sonata form. She also shows how Dvorák’s early instrumentation later becomes more symphonic and coloristic. 1369. Stahmer, Klaus Hinrich. “Drei Klavierquartette aus den Jahren 1875/76: Brahms, Mahler und Dvorák im Vergleich,” in Hamburger Jahrbuch für Musikwissenschaft, vii, Brahms und seine Zeit (Hamburg: Laaber, 1984), 113–23. Compares 2 youthful works by Mahler and Dvorák modelled on a mature work of Brahms. Brahms is the most radical with an original solution to the conflict between classical conception and romantic realization, whereas Dvorák avoids the issue and Mahler is too young to realize the problem. 1370. Hadow, William Henry. “Dvorak’s Quintet for Pianoforte and Strings,” in The Musical Times, lxxiii (1932), 401–4. A thematic analysis. Hadow notes that Dvorák thinks harmonically, not contrapuntally. He discusses the origins of the term “Dumka” ( = elegy) for the slow second movement. 1371. Beveridge, David. “Dvorák’s Piano Quintet, Op.81: The Schumann Connection,” in Chamber Music Quarterly (Spring, 1984), 2–10. Hans Hollander (“Schubertsche bei Dvorák – dargestellt am Klavierquintett, op. 81,” in Musica, xxviii [1974], 40–43) emphasizes

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Dvorák’s debt to Schubert, especially in the second movement, but ignores his debt to Schumann. This quintet is clearly based on the harmony, structure, and themes in Schumann’s Piano Quintet, Op. 44. Beveridge cites Dvorák’s own praises of Schumann’s chamber music, though he never acknowledged the debt of Op. 81 to Schumann. He shows in detail the parallels between the second movements and the differences as well. 1372. Smaczny, Jan. “The E-flat Major String Quintet, Opus 97,” in Dvorák in America: 1892–1895, ed. John C. Tibbetts (Portland [OR]: Amadeus Press, 1993), 238–42. A brief but cogent and readable analysis of the quintet. Petr Eben 1929–2007 1373. Lee, Jung-A. “The Chamber Music by Petr Eben.” DMA dissertation. Boston University, 2008. xii + 278 pages. A discussion of 4 chamber works by the Czech composer Petr Eben as well as vocal music. The chamber works are Suita Balladica for violoncello and piano (1955, actually written in 1945 in a concentration camp), Okna for trumpet and organ (1976), String Quartet (1981), and Three Jubilations for 2 trumpets, 2 trombones, and organ (1987). Lee includes a biography, a list of works, and descriptions of the pieces. Anton Franz Josef Eberl 1765–1807 1374. Brown, Janis Ann. “Anton Eberl’s Clarinet Chamber Works.” DMA dissertation. University of Iowa, 2000. OCLC: 148112652. 2 vols. (xi, 420 leaves). Jean-Frédéric Edelmann 1749–94 1375. Saint-Foix, Georges Poullain, Comte de. “Les Premiers Pianistes Parisiens [Johann Schobert, Nicolas-Joseph Hüllmandel, Jean-Frédéric Edelmann, Henri-Joseph Rigel],” in La Revue Musicale, III, No. 10 (1922), 121–36, IV, No. 6 (1923), 193–205, V, No. 8 (1924), 187–91 and 192–8. Saint-Foix gives biographies, evaluates the works, and points out the contributions of these 4 composers not only to keyboard music but to keyboard music accompanied by violin or 2 violins. He points the way for later research.

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Cecil Effinger 1914–90 1376. Worster, Larry. Cecil Effinger: A Colorado Composer, in Composers of North America, No. 21. Lanham (MD)/London: The Scarecrow Press, 1997. ISBN 0-8108-3108-2. ML410.E323W67.1997. xx + 439 pages. A biography and general reference work on Effinger, a prolific composer of chamber music. Chapter 11 is an in-depth Schenkerian analysis of String Quartet No. 5. Chamber music is mentioned in the course of the biography. Gottfried von Einem 1918–96 1377. Saathen, Friedrich. Einem Chronik: Dokumentation und Deutung. Vienna/Köln/Graz: Hermann Böhlaus Nachf., 1982. HML 2427.15.79. ISBN 3-205-07179-4. 388 pages. Chronological list of Einem’s works, including several chamber pieces. In his late chamber music, Einem recalls the spirit of Schubert. The rest of the book is about Einem’s reactions to events of his time and the reception of his music. Hans Eisler 1898–1962 1378. Grabs, Manfred. Hans Eisler: Kompositionen-Schriften-Literature: ein Handbuch, in Veröffentlichung der Akademie der Künste der Deutschen Demokratische Republik. Leipzig: VEB Deutscher Verlag für Musik, 1984. HML 2428.15.35.5. 415 pages. A large, very useful bibliography of Eisler’s compositions, of his writings, and of studies on him and his music. It includes, at the end, a chronological listing of his music, and at the beginning, a chronology of his life. His chamber works include a sonata for flute + oboe + harp, a sonata for violin + piano, a string quartet, and others. Edward Elgar 1857–1934 1379. Kent, Christopher. Edward Elgar: A Guide to Research. New York: Garland Publishing, 1993. ISBN 0-8240-8445-4. xvii + 523 pages. 1380. Moore, Jerrold Northrop. Elgar: Child of Dreams. London: Faber, 2004. ISBN 0571223370. viii + 212 pages. 1381. Maine, Basil. “Chamber Music,” in Elgar: His Life and Works: The Works. (London: G. Bell & Sons, 1933), 259–75. HML 2430.15.53(2).

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Notes that Elgar was preoccupied with the key of E minor when he wrote not only the Cello Concerto but also the Sonata for Violin + Piano and the String Quartet. The piano quintet is in A minor. Maine analyzes these 3 chamber pieces separately, paying attention to Elgar’s characteristic melody types, forms, and rhythms, with references to other works by him. For historical information, he refers to the companion volume (The Life). 1382. Colles, Henry Cope “Elgar’s String Quartet,” in The Musical Times, lx (1919), 336–8. A thematic analysis of the Op. 83 (1918) String Quartet. For reviews of the premiers of the quartet and quintet, see The Musical Times, lx (1919), 282. 1383. Colles, Henry Cope. “Elgar’s Quintet for Pianoforte and Strings, Op. 84,” in The Musical Times, lx (1919), 596–600. A thematic analysis of a work that is more impressive in the listening than in the analysis. There is nothing novel or striking to the analyst, but it is a beautiful and cohesive work. See note in 1382. 1384. Allis, Michael. “Elgar, Lytton, and the Piano Quintet, Op. 84.” Music and Letters, lxxxv (May 2004), 198–238. A detailed analysis of Elgar’s piano quintet as program music based on Edward Bulwar Lytton’s ghostly novel “A Strange Story.” Allis explores the relationship between Elgar and the critic Ernest Newman, to whom the piece is dedicated and who hinted at the program. Allis believes the negative criticism of the quintet by many is the result of ignorance of this literary connection. 1385. Anon., in The Musical Times, lx (1919), 162–3. A review and analysis of Elgar’s Sonata Op. 82 for violin + piano. Józef Elsner 1769–1854 1386. Nowak-Romanowicz, Alina. Józef Elsner, in Studia i Materialy do Dziejów Muzyki Polskiej, Vol. 4. Cracow: Polskie Wydawniciwo Muzyczne, 1957. HML 2438.15.61. 2 vols. I: 352 pages; II: 189 pages of music. In Polish. The major study of the Polish composer who besides much else also wrote a lot of chamber music (listed on pages 314–17) including sonatas for violin + piano, string and piano trios, quartets, quintets, a septet (for flute + clarinet + violin + viola + cello + bass + piano), and others. In the course of the biography, the chamber pieces are discussed and analyzed.

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Arnold Elston 1907–71 1387. Lewin, David. “Berkeley: Arnold Elston: Quartet; Seymour Shifrin: Quartet No. 2,” in Perspectives of New Music, ii, No. 2 (1964), 169–75. Lewin reviews premier performances by the Lenox Quartet of the 2 pieces. Elston’s quartet is “saturated with motivic cells which function crucially as carriers of both line and harmonic progression”; Lewin concentrates on just the third movement. Shifrin’s quartet is a “contrasting play of two basic textures”: lyricism and terse fragmentation. The first 2 movements are successful, the third is uncertain. Lewin notes the excitement in Shifrin’s music, which comes from his perception that a listener must continually test and revise fundamental assumptions about a piece with repeated hearings and not accept it as a finished business. Joseph Emidy c.1775–1835 1388. McGrady, Richard. Music and Musicians in Early Nineteenth-Century Cornwall: The World of Joseph Emidy – Slave, Violinist, and Composer. Exeter: University of Exeter Press, 1991. ISBN 0-8598-9359-6. ML410.E49M24.1991. 168 pages. Most of this book has nothing to do with chamber music. It is a fascinating account of an African, Joseph Emidy (c.1775–1835), who as a child was sold into slavery, was taught violin in Lisbon, was kidnapped by a British ship captain to accompany dancing on board his boat, and was set free in Cornwall where he became a leading violinist and composer of symphonies and chamber music. George Enesco 1881–1955 1389. Voicana, Mircea. George Enescu: Monografie. Bucharest: Academiei Republicii Socialiste Romania, 1971. HML 2444.15.33. 2 vols. I: xxxvi + 588 pages; II + 696 + i. In Romanian, with a French summary. This list of works includes 3 string quartets, 2 piano quartets, 2 piano quintets, sonatas for violin + piano, a string trio, a piano trio, and a few others. Voicana provides historical background to the pieces and a brief analysis in the course of the biography. 1390. Moisescu, Titus. “Cvartetul de Coarde in Creatia liú George Enescu,” in Muzica, xxv (June 1975), 5–11, (September 1975), 7–14, and (December 1975), 9–14.

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Discusses 11 newly discovered string quartets by Enesco in the Muzeo George Enesco, and the 2 published Op. 22, Nos. 1 and 2 quartets. 1391. Ritz, Lynette Carol. “The Three Violin sonatas of George Enesco.” DMA dissertation. University of Kentucky, 1991. Alvin Gerald Etler 1913–73 1392. Nichols, William Roy. “The Wind Music of Alvin Etler (1913–73).” DMA dissertation. University of Iowa, 1976. UMI 77–13154. DAI xxxvii.12A, p. 7396. 255 pages. A biography and chronological list of Etler’s wind music. Nichols analyzes 5 works, 2 of which are chamber pieces: Sonata for Oboe + Clarinet + Viola (1945) and Woodwind Quintet No. 1 (1955). 1393. Sheldon, Paul Melvin. “Alvin Etler (1913–73): His Career and the Two Sonatas for Clarinet.” DMA dissertation. University of Maryland, 1978. UMI 70–20730. DAI: xl.3A, pp. 1146–47. 230 pages. A biography and analysis of Etler’s compositional style and the 2 clarinet pieces. Sheldon considers clarinet technique and makes performance suggestions. Victor Ewald 1860–1935 1394. Reed, David F. “Victor Ewald and the Russian Chamber Brass School.” DMA dissertation. University of Rochester, 1979. UMI 80– 05141. DAI xl.11A, p. 5644. 322 pages. Ewald’s 3 brass quintets are the culmination of almost a century of brass music composed in St. Petersburg at the end of the 19th and beginning of the 20th centuries by such people as Alexander Aliabev, Ludwig Maurer, Anton Simon, Glazunov, Wilhelm Ramsöe, and Oskar Böhme: the Russian Chamber Brass School. Reed discusses Ewald’s part in Belaiev’s home chamber music sessions—he was a cellist. The 3 quintets are analyzed; they are important Romantic works in a repertory not particularly noted for Romantic works. Eric Ewazen b.1954 1395. Smith, Thomas Rodgers. “The Use of the Trumpet in Selected Chamber Works of Eric Ewazen.” DMA dissertation. University of Texas at Austin, 2001. DAI lxii (September 2001), p.836A. xiii + 156.

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Smith analyzes 5 chamber pieces by American Ewazen for various combinations of instruments, all including at least 1 trumpet, and gives a biography of the composer with personal interviews. The thesis begins with a review of chamber music with trumpet before the second half of the 20th century. Manuel de Falla 1876–1946 1396. Chase, Gilbert, and Andrew Budwig. Manuel de Falla: a Bibliography and Research Guide, in Garland Composer Resource Manuals, Vol. 4. New York/London: Garland, 1986. ML 134.F18C5. ISBN 0-8240-8587-2. xiii + 145 pages + 14 photographs + 2 letter facsimiles. The only chamber works that fit into our definition are the early 2movement Cuarteto (piano quartet), Melodia (cello + piano), Romanza (cello + piano), Serenata Andaluza (violin + piano), and Mireya (flute + violin + viola + cello + piano). Chase lists studies on these works. Giuseppe Maria Fanfani fl.1723–57 1397. Cole, Malcolm S. “A Sonata Offering for the Prince of Tuscany,” in Current Musicology, No. 16 (1973), 71–8. A detailed historical and analytical account of 12 sonatas (6 da chiesa and 6 da camera) for violin + cello by Fanfani, dedicated to Giovanni Gastone de Medici between 1723 and 1737. Louise Farrenc 1804–75 1398. Heitmann, Christin. Die Orchester-und Kammermusik von Louise Farrenc vor dem Hintergrund der zeitgenössischen Sonatentheorie, in Veröffentlichungen zur Musikforschung, ed. Richard Schaal, Vol. 20. Wilhelmshaven: Florian Noetzel, Heinrichshofen Bücher, 2004. ISBN 3795908280. 319 pages. Originally PhD dissertation. Carl von Ossietzky Universität Oldenburg, 2002. A study of Farrenc’s use of sonata form in symphonic and chamber pieces. Heitmann reviews the concept of sonata form in France in the early-19th century, especially as presented in Anton Reicha’s treatise Le grande coupe binaire (1824), and then sees how Farrenc treats specific aspects of the form in selected movements of her piano trios, piano quintets, nonet, sextet, violoncello sonata, as well as symphonic

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works. Heitmann includes a biography, bibliography, and extensive footnotes. For a discussion of the piano trios of Farrenc see 400. Arthur Farwell 1872–1951 For a catalogue of Farwell’s chamber music, see Brice Farwell, A Guide to the Music of Arthur Farwell and to the Microfilm Collection of his Work (Briarcliff Manor [New York]: Brice Farwell, 1972), page 60. ML 134. F25G8. ISBN 0-9600484-0-5. Johann Friedrich Fasch 1688–1758 1399. Pfeiffer, Rüdiger. Verzeichnis der Werke von Johann Friedrich Fasch (FWV): kleine Ausgabe, in Dokumente und Materialien zur Musikgeschichte des Bezirkes Magdeburg. Magdeburg: Rat des Bezirkes, 1988. ML134.F27P4.1988. 100 pages. Basic catalogue of Fasch’s works, with the sonatas on pages 87–94. Pfeiffer gives title, scoring, tempos of the movements, editions, and literature about each sonata. This is reproduced typescript on browning paper. 1400. Sheldon, David Alden. “The Chamber Music of Johann Friedrich Fasch.” PhD dissertation. Indiana University, 1968. UM 68–13704. DA xxix.4A, p. 1246. x + 243 pages. A history of 28 sonatas (16 a3, 12 a4) previously evaluated by Hugo Riemann and others. This is primarily an analysis of style, themes, forms with motivic repetition, texture, and harmony. While Fasch is no more advanced in many respects than his contemporaries, he stands out for a “firm adherence to a mid-eighteenth-century sonata-allegro principle of form and thematic development.” Gabriel-Urbain Fauré 1845–1924 1401. Nectoux, Jean-Michel. Gabriel Fauré: A Musical Life. Trl. by Roger Nichols. Cambridge: Cambridge University Press, 1991. ML410. F27N413.1991. ISBN 0-5212-3524-3. xxv + 646 pages. French original: Gabriel Fauré: les voix du clair-obscur. Paris: Flammarion, 1990. Includes 2 chapters on Fauré’s chamber music (Chapters 6 and 17), discussed historically within the framework of the biography. Includes some formal analysis en passant.

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1402. Barshell, Margaret Louise. “Gabriel Fauré: A Biographical Study and a Historical Style Analysis of his Nine Major Chamber Works for Piano and Strings.” Doctor of Arts dissertation. Ball State University, 1982. DAI xliii.7A, p. 2148. 211 pages. Barshell provides an historical and cultural background to Fauré’s chamber music and an explanation of his choice of sonata form, some rhythmic peculiarities, certain church modal progressions, and certain harmonies and melodic turns. 1403. Favre, Max. Gabriel Fauré’s Kammermusik. Zurich: Kommissionsverlag von Max Niehans, 1949. MT 145.F4F4. 272 pages, 93 examples, on poor quality paper. An important, basic study of French chamber music for scholars, performers, and laypersons. Although technical in its discussion of melody, harmony, and form, the level of analysis—objective and not poetic— is clear, and unencumbered by jargon, formulas or a priori theories. This is an erudite book based exclusively on readily available documents (printed scores only) and on studies of the music (no secondary sources cited). It begins with a study of early-19th-century French Romanticism and the romance, a musical genre that paved the way for a renewed interest in chamber music later in the century. The first half of the 19th century was dominated by opera and by German instrumental music. Berlioz, who wrote no chamber music, paved the way for it in France by placing instrumental (orchestral) music on a plain with opera. Chopin contributed an interest in color (harmonic, tonal, formal, melodic)—a French preoccupation and important for Fauré—and almost totally avoided larger instrumental works as in Berlioz. In the second half of the century, César Franck wrote religious music and counterpoint, contrary to prevailing trends and essential to Fauré’s chamber music style. Saint-Saëns influenced Fauré, his close friend, in formal problems and by opening up chamber music to a new French style. The chief mark of Fauré’s chamber music is that he assumes the new technical achievements of the Romantic but not in the Romantic spirit. Favre provides a biography of Fauré and demonstrates the importance of chamber music in his life. The bulk of the book is thematic and tonal with a formal analysis of Fauré’s music. 1404. Breitfeld, Claudia. Form und Struktur in der Kammermusik von Gabriel Fauré. Kassel/New York: Bärenreiter, 1992. 2 vols. ISBN 37618-1049-0. 785.092.F265.B835.1992. Originally PhD dissertation. University of Würzburg, 1990. A detailed, intensive, theoretical analysis of the 10 chamber works of Fauré. Breitfeld, after a brief historical perspective, considers the

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nature of the themes in each movement, the forms, the technique of development, and whatever cyclic nature the pieces might have. Volume II presents formal schemes of each of the chamber works in outline, followed by musical examples of the various themes. 1405. Tubergen, David Gene. “A Stylistic Analysis of Selected Violin and Piano Sonatas of Fauré, Saint-Saëns, and Franck.” PhD dissertation. New York University, 1985. UMI 85–21996. DAI xlvi.10A, pp. 2852–3. 274 pages. A comparison of 3 famous French sonatas for violin + piano written 1876–86 under the aegis of the Société Nationale de Musique. The analysis is based on LaRue’s terminology (sound, harmony, melody, rhythm, and growth), with additional comments on performance. Tubergen notes that Franck writes regular melodic phrases, the other 2 composers write irregular ones. Franck is the most daring harmonically and Saint-Saëns the least so; all 3 are masters of polyphony. 1406. Halbreich, Harry. “La Musique de Chambre de Fauré,” in Harmonie, No. 151 (October 1979), 42–51. A popular article on the greatness of Fauré despite debunkers of the past and some neglect today. His chamber music is his best writing. He was responsible for a renewed interest in French chamber music in 1876, continuing the 18th-century tradition. Halbreich lists his 10 chamber pieces and discusses their style in metaphoric, not theoretic, terms. He compares Fauré to Bach and Bruckner, and contrasts him with Schumann, Brahms, and Beethoven. 1407. Jones, Jonathan Barrie. “The Piano and Chamber Works of Gabriel Fauré.” PhD dissertation. Cambridge University, 1974. 1408. Boneau, Denise. “Genesis of a Trio: The Chicago Manuscript of Fauré’s Opus 120,” in Current Musicology, No. 35 (1983), 19–33. Discusses the autograph manuscript of the third movement of the trio. Apparently, Fauré conceived the trio for clarinet + cello + piano, but changed it to violin + cello + piano. The published version differs from this manuscript in meter and tempo as well as in other details. Boneau often states something is significant without explaining why. See also James McKay, “Le Trio Op. 120 de Fauré: une Esquisse Inconnue du troisième Mouvement,” in Études Fauréennes, Bulletin de l’Association des Amis de Gabriel Fauré, No. 19 (1982), 8–17. 1409. Ferguson, David Milton. “A Study, Analysis and Recital of the Piano Quartets of Gabriel Fauré.” EdD dissertation. Columbia University, 1969. UMI 70–4569. DAI xxx.9A, pp. 3970–1. 213 pages.

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Ferguson studies the influences on Fauré of Schumann, Schubert, and Chopin, the modality of the quartets, their contrapuntal style, their forms, and the continual development found in them. He emphasizes the implications of these matters for performance. 1410. Oh, Jooeun. “Gabriel Fauré (1845–1924): Innovator of the French Modern Style as Seen in his works for cello and piano.” DD dissertation. University of Maryland, 2003. ISBN 0496599871. 61 pages. Morton Feldman 1926–87 1411. Saxer, Marion. “Komposition mit Mustern: Morton Feldmans String quartet (1979),” in Neue Musik vermitteln: Analysen–Interpretationen – Unterricht, Hans Bässler, Ortwin Nimczik, Peter W Schatt, eds, Mainz: Schott, 2004, ISBN: 3795704928), 177–92. Saxer shows how Feldman realizes his basic musical ideas in the 1979 String Quartet: sound for sound’s sake and the avoidance of chance to achieve clarity. The 4 chromatic notes d-flat to d to e-flat to e form the kernel that is continually changing nuances in its presentation—what Feldman calls tonal abrash borrowed from the art of Turkish rugs. Rhythmic and harmonic abrash also figure in Feldman’s technique. This results in no traditional, repetitive form but in a continually changing color that also avoids the exact repetition formulas of minimalism. The piece achieves its own evolving form over more than one and a half hours. 1412. Cosse, P. “Ziellos wesentlich – Morton Feldmann: Piano and String Quartet,” in Neue Musikzeitung, xliii (February–March 1994), 45. For a discussion of Feldman’s piano quintet see also 435 and 753. 1413. Janello, Mark K. “The Edge of Intelligibility: Late Works of Morton Feldman.” PhD dissertation. University of Michigan, 2001. Vol. 1: vi + 90 pages. Volume 2 is an original composition. Feldman challenges the traditional concept of musical time as moving from the past (memory) through the present to the future (imagination). He consciously tries to confuse the connections from the past to the future. After ruminating through historical literature about “time,” Janello comes up with his own philosophy about it and then applies his theory to one of Feldman’s last works, the Clarinet and String Quartet (1983). He concludes by applying the same theory to a fugue by Bach and to the andante of the Mozart G-minor String Quintet.

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Joseph Fennimore b.1940 1414. Hoyle, Wilson Theodore. “Joseph Fennimore: His Biography and Works together with an Analysis of his Quartet (After Vinteuil).” DMA dissertation. Manhattan School of Music, 1981. DAI xlii.4A, p. 1365. 168 pages. A study of the Quartet for clarinet + viola + cello + piano. Hoyle considers structure and the program based on the fictional composer Vinteuil (from Marcel Proust’s Remembrance of Things Past). He includes comments by the composer. Alfonso Ferrabosco, II c.1575–1628 1415. Dodd, Gordon. “Alfonso Ferrabosco II: The Art of the Fantasy,” in Chelys: The Journal of the Viola da Gamba Society, vii (1977), 47–53. Michael Christian Festing c.1680–1752 1416. Krantz, Eldon LaVar. “Practical Edition of Six Sonatas for Violin and Piano by Michael Christian Festing.” DMA dissertation. Eastman School of Music, 1973. UMI 73–31572. DAI xxxiv.8A, p. 5231. 178 pages. The introductory commentary has a biography, a discussion of the form and style of the 6 sonatas, the rationale for the continuo realization, and performance suggestions. Festing, who died in London, was a pupil of Geminiani and demonstrates considerable technical feats as well as expressive melodies. Zdenko Fibich 1850–1900 See Vladimir Hudec in 675, pages 171–6. John Field 1782–1837 1417. Piggott, Patrick. The Life and Music of John Field 1782–1837: Creator of the Nocturne. Berkeley/Los Angeles: University of California Press, 1973. ISBN 0-520-02412-5. xvi + 287 pages. Chapter 15 discusses Field’s works for piano with string quartet, which were written for performance in the salons of Russia where an accompanying orchestra would have been impossible. Usually the piano dominates, but occasionally the quartet is of equal importance.

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This type of chamber music has precedents in Haydn and Beethoven and continues with Clara Schumann and Mendelssohn. Piggott gives historical background and some basic thematic analysis. Johann Anton Fils 1733–60 1418. Holzbauer, Hermann. Johann Anton Fils (1733–1760): ein Eichstätter Komponist der Mannheimer Klassik: Ausstellung zum 250. Geburtstag, in Schriften der Universitätsbibliothek Eichstätt, No. 2. Tutzing: Hans Schneider, 1983. ISBN 3-7952-0406-2. 99 pages + viii pages of facsimiles. Fils wrote many trio sonatas and other chamber works. This is not a complete catalogue of his works but a catalogue of the exhibition, which includes numerous facsimiles (in addition to the ones at the end) showing chamber music title pages, letters, documents, portraits, and (No. 48) a string quartet performing c.1790 where all but the cellist are standing. There is no analysis or history. Ross Lee Finney 1906–97 1419. Haines, Don Robert. “The Eight String Quartets of Ross Lee Finney.” DMA dissertation. University of Rochester, 1973. Divides the 8 quartets (1935–60) into 3 groups according to different phases in the composer’s quartet style. After a biography, Haines discusses each quartet in turn with reference to traditional compositional techniques. Form, harmony, and tonality change over the 8 quartets, but the other elements remain consistent. The later quartets are more polyphonic, the earlier ones more chordal; the later ones are also more chromatic, and eventually serial. The first 6 are cyclic, the last 2 circular. Richard Flury 1896–1967 1420. Flury, Richard. Lebens-Erinnerungen. Derendingen (Switzerland): Habegger, 1950. HML 2543.14. 260 pages. Memoires of a Swiss composer whose chamber music consists of 4 string quartets, a piano quintet, string trio, piano trio, 7 sonatas for violin + piano, 2 sonatas for cello + piano, suite for oboe + piano, and other pieces. There are no musical analyses but Flury recounts many personal events surrounding the composition and performance of his own chamber music.

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Emanuel Aloys Förster 1748–1823 See 923 and Rey M. Longyear, “Förster,” in The New Grove 1. Josef Bohuslav Foerster 1859–1951 1421. Bachtík, Josef. “Komorní Skladby,” in Josef Bartos, ed., J.B. Foerster: Jeho Zivotní Pout a Tvorba 1859–1949 (Prague: Národní Hudební Vydavatelství Orbis, n.d.), 95–148. HML 2547.15.30. Analysis of Foerster’s chamber music. On pages 377–78 of the same volume, there is a list of the chamber music, which includes a nonet (woodwind quintet + violin + viola + cello + bass), a woodwind quintet, a piano quintet, string quartets, trios, and sonatas. Giovanni Battista Fontana c.1589–1631 1422. Bartleman, Donald L. “Violin Technic in the Early Seventeenth Century as Exhibited in the Violin Sonatas of Giovanni Battista Fontana.” PhD dissertation. Chicago Musical College–Roosevelt University, 1954. DD xxi (1954), p. 254. 185 pages. Arthur Foote 1853–1937 For a catalogue of Foote’s chamber music, see Wilma Reid Cipolla, A Catalogue of the Works of Arthur Foote 1853–1937, in Bibliographies in American Music, No. 6 (Detroit: College Music Society, 1980), pages 71–78 and 92–98. ML 134.F6C5. ISBN 0-89990-000-3. John Herbert Foulds 1880–1939 1423. MacDonald, Calum. “John Foulds and the String Quartet,” in Tempo, No. 132 (March 1980), 16–25. A brief biography and discussion of Fould’s 11 string quartets, of which 4 of the first 5 are lost; MacDonald describes the remainder. He regards Quartetto Intimo, with some bizarre moments, as Fould’s masterpiece. César Franck 1822–90 1424. Jardillier, Robert. La Musique de Chambre de César Franck: Étude et Analyse. Paris: Mellottée, [1929]. MT 145.F7J2. 228 pages, 159 examples.

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Jardillier considers Franck’s 4 early trios, the organ works, and the mature chamber music (quintet, 2 solo piano pieces, the violin + piano sonata, and the string quartet). The late works had precursors in the early ones, which were influenced in turn by Schubert and Weber. Jardillier gives a brief history of each genre leading to Franck. He shows how cyclic unity is achieved in different ways in each piece. Franck’s main contribution is the regeneration of French chamber music and French music in general. Saint-Saëns, Fauré, and Lalo all wrote chamber music before Franck, but only Franck showed that simple chamber music could express as much as an orchestral piece— the first to do so since Beethoven and Schumann. 1425. DeMuth, Norman. “The Chamber Music,” in César Franck (London: D. Dobson/New York: Philosophical Library, 1949), 123–42. ML 410.F82D35. An analysis in essay form, in chronological order, of each of Franck’s chamber pieces. Subjective remarks are interspersed with specific aspects of form, harmony, texture, variation, cyclic unity, and historical influences and events. This is a good introduction to the chamber music for the student. See 1170 for a discussion of cyclic unity in Franck’s chamber music. 1426. Jost, Peter. Cesar Franck: Werk und Rezeption. Stuttgart: Steiner, 2004. ISBN 3515082654. 313 pages. A collection of essays. The following pertain to Franck’s chamber music: “Francks Klaviertrio op. 1 Nr. 1: historische Bedeutung und ästhetisches Urteil” (Giselher Schubert); “Ein ‘monstre sacré’? Francks Klavierquintett in seiner Zeit” (Wolfgang Rathert); “Individuelles Spätwerk und epochaler Spätstil: zur harmonischen Konstruktion der ‘sonate cyclique’ in César Francks Streichquartett” (Hans-Joachim Hinrichsen); “César Francks Violinsonate und ihre Stellung in der Geschichte der zyklischen Sonate” (Stefan Keym); and “Zur Rezeption der Klaviertrios in französischer und deutscher Sicht: Konstanten und Divergenzen” (Katrin Eich). 1427. Eich, Katrin. “Zur Rezeption der Klaviertrios in französischer und deutscher Sicht: Konstanten und Divergenzen.” In César Franck: Werk und Rezeption, Peter Jost, ed (Stuttgart: Franz Steiner, 2004), 259–69. An attempt to trace those elements of the early chamber music by Franck (the piano trios of c.1850) that recur or that do not recur in the late, great pieces of chamber music (piano quintet, violin-piano sonata, and string quartet of the late 1870s–1880s).

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For another discussion of the first piano trio see 414. 1428. Eich, Katrin. Die Kammermusik von César Franck, in Kieler Schriften zur Musikwissenschaft, Band XLVIII. Kassel: Bärenreiter, 2002. xii + 333 pages. An in-depth scholarly study of Franck’s chamber music. Chapter I places the music in its historical and biographical context, Chapter II compares the structures of the early piano trio with the late string quartet, and the remaining 2 chapters discuss the structure of the early chamber music and the late piano quintet and violin-piano sonata. An appendix describes the manuscript sources and early editions, and there is an extensive bibliography. 1429. Wegener, Bernd. “César Francks Harmonik dargestellt am Streichquartett D-Dur,” in Revue Belge de Musicologie, xlv (1991), 109–26. 1430. Hinrichsen, Hans-Joachim. “Individuelles Spätwerk und epochaler Spätstil: zur harmonischen Konstruktion der ‘sonate cyclique’ in César Francks Streichquartett,” in César Franck: Werk und Rezeption, Peter Jost, ed (Stuttgart: Steiner, 2004, ISBN 3515082654), 88–111. A scholarly discussion of the form of this late, individual work. 1431. D’Indy, Vincent. “Le Quatuor en Ré Majeur,” in César Franck, in Les Maîtres de la Musique (Paris: Librairie Félix Alcan, 1919, ML 410.F82I6), 163–79. Original 1906. Trl. Rosa Newmarch, “The Quartet in D Major,” in César Franck (London/New York: John Lane, 1910, ML 410.F82I63), 182–97. Analyzes the form, especially of the first and fourth movements, of his teacher’s quartet. D’Indy notes the overlapping of song and sonata forms in the first movement and the recurrence of various motives in the third and fourth movements. With just a few brief comments, he captures the formal essence of the quartet: a model of relevancy for modern-day theorists. D’Indy also provides some personal recollections of Franck and his methods of composition; he gives preliminary sketches of the opening of the first movement without detailed commentary. In addition, he emphasizes the need for maturity in writing a string quartet, and points to Beethoven’s late quartets as his really great quartets. See 1405 for a discussion of the violin + piano sonata. For Franck’s influence on the violin-piano sonatas of other French composers, see 555. 1432. Keym, Stefan. “César Francks Violinsonate und ihre Stellung in der Geschichte der zyklischen Sonate,” in César Franck: Werk und Rezeption, Peter Jost, ed (Stuttgart: Steiner, 2004, ISBN 3515082654), 112–30. A detailed analysis.

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1433. Rathert, Wolfgang. “Ein ‘monstre sacre’? Francks Klavierquintett in seiner Zeit,” in César Franck: Werk und Rezeption, Peter Jost, ed (Stuttgart: Steiner, 2004, ISBN 3515082654), 74–87. The piano quintet (1878–9) opens the late period of Franck’s creative life and is then followed quickly by the Violin-Piano Sonata and the String Quartet, as well as other masterpieces. In this work, Franck mediates between the older German style of Bach, Beethoven, Schubert, Schumann, and Brahms and the newer German style of Wagner. Rathert considers the piece within the context of the history of piano quintets. 1434. Cohn, Richard Lawrence. “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions,” in Music Analysis, xv (1996), 25–8. Includes a discussion of Franck’s Quintet for Piano and Strings, among other works. Benjamin Franklin 1706–90 See Hubert Unverricht in 1499. Girolamo Frescobaldi 1583–1643 1435. Harper, John. “Frescobaldi’s Reworked Ensemble Canzonas,” in Frescobaldi Studies, ed. Alexander Silbiger (Durham [NC]: Duke University Press, 1987), 269–83. A detailed comparison of the 3 editions of Frescobaldi’s ensemble canzonas: 1628, 1628, and 1634. Harper looks at what is repeated, what is omitted, what is recomposed, and the different order of the pieces. Also some of the reworked canzonas of 1634 are analyzed to show how they differ from earlier versions. 1436. Harper, John M. “The Instrumental Canzonas of Girolamo Frescobaldi: A Comparative Edition and Introductory Study.” PhD dissertation. University of Birmingham, 1975. 4 vols. I: vi + 333 pages; II–IV: 645 pages of music. 1437. Mead, Ernest Campbell, Jr. “The Instrumental Ensemble Canzonas of Girolamo Frescobaldi.” PhD dissertation. Harvard University, 1983. UMI DA 83–11899. DAI xliv.3A, pp. 607–8. 2 vols. 709 pages. Discusses the canzonas in relation to Frescobaldi’s biography and overall oeuvre. Mead establishes the chronology of the canzonas in 1628 and analyzes their style, form, rhythm, notation, and harmony. Volume II is a transcription of the 1634 edition of the canzonas.

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1438. Jensen, Niels Martin. “Le revisione delle canzoni e il suo significato per la comprensione del linguaggio frescobaldiano,” in Girolamo Frescobaldi nel IV centenario della nascita (Firenze: Olschki, 1986), 315–28. Robert Fuchs 1847–1927 For a general discussion of the chamber music of Robert Fuchs and his relationship to Brahms, see 427. 1439. Heilmair, Bärbel Ulrike (Tanret). “Robert Fuchs’ Quintet for Clarinet, 2 Violins, Viola and Violoncello in E-flat Major, Op. 102, from a Clarinetist’s Perspective: A study in Performance Practice.” DMA dissertation. University of California in Los Angeles, 2004. ISBN 049606505X. viii + 46 pages. See also Bärbel Heilmair, “The Forgotten Clarinet Quintet by Robert Fuchs,” in Clarinet & Saxophone, xxix, No. 3 (September 2004), 25–7. Fuchs, a friend of Brahms and teacher of Mahler and Zemlinsky, wrote his clarinet quintet in 1917, and it was premiered that year by Franz Behrends and the Busch-Grümmer Quartet. It was printed in 1919 and that edition plus 2 replicas remain in print today. After the premier, it was ignored until now. Heilmair, a clarinetist, analyzes the work and makes suggestions on various aspects of performance. At the end, is a list of Fuchs’s other chamber works. Johann Joseph Fux 1660–1741 1440. Rutherford, Charles Leonard. “The Instrumental Music of Johann Joseph Fux (1660–1741).” EdD dissertation. Colorado State College, 1967. RILM 68–1891. UMI 68–454. DAI xxviii.10A, pp. 4202–3. 450 pages. Discusses Fux’s Concentus Musico-Instrumentalis, which contains ensemble music for dinner or entertainment at court or for amateurs gathered for an evening’s chamber music. Rutherford transcribes a few movements for woodwind and brass ensembles. Niels Gade 1817–90 See Krummacher’s comparison of the string quartets of Gade and Berwald in 685. Florian Leopold Gassmann 1729–74 For a catalogue of Gassmann’s chamber music, see George R. Hill, A Thematic Catalog of the Instrumental Music of Florian Leopold Gassmann, in

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Music Indexes and Bibliographies, No. 12 (Hackensack [New Jersey]: Joseph Boonin, 1976), pages 46ff. ML 134.G37A2. ISBN 0-913574-12-0. 1441. Leuchter, Erwin. “Die Kammermusikwerke Fl. L. Gassmanns.” PhD dissertation. University of Vienna, 1926. ii + 207 pages. Leuchter provides an important scholarly survey of the 74 chamber pieces and an analysis of their form, melody, rhythm, obligato accompaniment, orchestration, and counterpoint. He considers Gassmann’s position in the Viennese School and in the development of 18th-century chamber music. He finds his music conservative for the period 1760– 74, though there are many interesting and beautiful moments, and sees no common thought between Gassmann and Haydn and no influence of Gassmann on Mozart. This dissertation also includes a thematic catalogue (duets, trios and quartets of strings and trios, and quartets for other settings). See Eve Meyer’s “Florian Gassmann and the Viennese Divertimento” 481. 1442. Meyer, Eve Rose. “The Oboe Quartets of Florian Leopold Gassmann,” in The Music Review, xxxiv (1973), 179–88. A brief biography, followed by a description of the 9 oboe quartets, each in 3 movements (slow-fast-slow). Meyer considers Gassmann’s influence on Salieri and Haydn. This is a history of the quartets, not an analysis. They do not compare with the masterpieces of the time. 1443. Craig, Steven Douglas. “Florian Leopold Gassmann and his Quartets for Oboe and Strings.” DMA dissertation. University of Cincinnati, 1984. UMI 85–09466. DAI xlvi.3A, p. 548. vi + 228 pages. Craig considers the life and oeuvre of Gassmann, the oboe in the 18th century, the oboe quartet, and Gassmann’s specific contributions. He includes illustrations of the 18th-century oboe and its manufacturers. He argues that Gassmann’s music “stands midway between the polyphonic style of the late Baroque and the rising prominence of homophony in the early Classical period.” There is a good bibliography. Pierre Gaviniès 1728–1800 1444. Ginter, Robert Leon. “The Sonatas of Pierre Gaviniès.” PhD dissertation. Ohio State University, 1976. UMI 76–24600. DAI xxxvii.5A, pp. 2479–80. xi + 374 pages. A stylistic study of l5 sonatas for violin + continuo and 6 sonatas for 2 violins by “the leading French violinist-composer of the second

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half of the eighteenth century.” The sonatas show no technical advance over Leclair, but they are important historically in the transition from the Baroque to the Classical French sonata. The duets, included in score in an appendix, are typical of popular late-18th-century French music. Francesco Geminiani 1687–1762 1445. McArtor, Marion. “Francesco Geminiani Composer and Theorist.” PhD dissertation. University of Michigan, 1951. UMI 51–107. DA xi.2, pp. 374–5. 387 pages. A discussion of Op. 1 Sonatas and Op. 3 Concertos and a comparison with Handel’s similar works. Roberto Gerhard 1896–1970 1446. Nash, Peter Paul. “The Wind Quintet,” in Tempo, No. 139 (December 1981), 5–11. Discusses and analyzes the Wind Quintet (1928) for flute-piccolo + oboe + clarinet + bassoon + horn. Nash considers its serialism and thematic development, and compares it to Schoenberg’s Wind Quintet of 1924. Friedrich Gernsheim 1839–1916 1447. Meier, Adolf. “Die Kammermusik Friedrich Gernsheims,” in Friedrich Wilhelm Riedel and Hubert Unverricht, eds, Symbolae Historiae Musicae: Helmut Federhofer zum 60. Geburtstag (Mainz: B. Schott’s Söhne, 1971), 263–71. ML 55.F32.1972. Meier provides a cursory analysis of the basic forms of the movements of Gernsheim’s 17 chamber pieces (sonatas for violin + piano or cello + piano, piano trios, piano quartets, piano quintets, string quartets and quintets, and a sextet-divertimento for flute + 2 violins + viola + cello + bass). A distinguished German pianist, conductor, teacher (of Humperdinck), and composer, Gernsheim was most influenced by Mendelssohn, Schumann, Brahms, and Bruch. Felice Giardini 1716–96 1448. McVeigh, Simon. The Violinist in London’s Concert Life, 1750–1784: Felice Giardini and his Contemporaries, in Outstanding Dissertations in

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Music from British Universities. New York/London: Garland Publishers, 1989. ML286.8.L5M3.1989. ISBN 0-8240-2018-9. iii + 423 pages. Originally PhD dissertation. University of Oxford, 1979. A companion to the author’s Concert Life in London from Mozart to Haydn, this book deals with concert life in London several decades earlier and then focuses on Giardini’s career in London, which includes chamber music performances. Chapter 4 deals with his music and specifically his chamber music on pages 213 to 254. McVeigh starts with comparisons of other violinists’ solo-continuo sonatas at the time when Giardini first arrived in London (primarily Michael Festing [d.1752]) and continues with analyses of his sonatas and those of his contemporaries (François Hippolyte Barthelemon, Luigi Borghi, Gaetano Pugnani, Johann Peter Salomon, and others) through the 1760s. In the 1770s, Giardini became more interested in other types of chamber music: string trios, string quartets, and oboe quartets; they were all intended for public performance, while string duos were mostly for home performance. He favored a concertante style in this later music where all the performers shared more or less equally in the melodic material, though not as perfectly as in Haydn. The book contains a great deal of data on violinist-composers active in London, on the various kinds of concerts in which they performed, and on their compositions. Generous supporting indices and bibliographies (volume 2 of the dissertation) appear as appendices in this printed version. Orlando Gibbons 1583–1625 1449. Dart, Thurston. “The Printed Fantasies of Orlando Gibbons,” in Music and Letters, xxxvii (1956), 342–9. A history of Gibbons’s 9 published 3-part fantasias (1620–2). Dart analyzes the scoring: 4 fantasias for violin + lyra viol + bass viol + continuo, and the other 5 for 2 violins + bass viol + chamber organ. All were written for the private use of King James I. Alberto Ginastera 1916–83 For a catalogue of Ginastera’s chamber music, see Anon., Alberto Ginastera: A Catalogue of his Published Works ([London]: Boosey & Hawkes, 1976), 18–19. ML 134.G54B6. See also 435. Philip Glass b.1937 1450. Alburger, Mark. “Philip Glass: String Quartet to Strung Out,” in 21st Century Music, x, No. 7 (July 2004), 3–7.

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A detailed formal analysis of String Quartet No. 1 (1966) by Glass and his next work, Strung Out (1967) for amplified violin. Alburger includes some biographical references to Glass in New York at the time and his intermingling with Steve Reich and others. Alexander Konstantinovitch Glazunov 1865–1936 1451. Raaben, Lev Nikolaevich. “Kamerno-Instrumentalnie Sochinenira,” in I.V. Golubovskii, ed., Glazunov: Issledobanuia, Mameruale, Piablukachii, Pusma, i (Leningrad: Muziuz, 1959), 245–90. HML 2785.15.49. In Russian. A detailed analysis of Glazunov’s chamber music. 1452. Cherbuliez, Antoine-Elisée. “Alexander Glasunows Kammermusik,” in Musik des Ostens, iv (1967), 45–64. A scholarly essay for the layperson on Glazunov and the history and meaning of his chamber music. Before 1860, Russians were Romantics who found the rigid forms of chamber music too Classical. Between 1882 and 1930, Glazunov writes 7 string quartets, 2 suites for string quartet, 1 string quintet, an isolated quartet movement for trumpet + horn + tenor trombone + bass trombone, a saxophone quartet (4 saxophones), and a few other movements. Under the influence of Brahms, Glazunov combines a European style with Russian motivic and rhythmic elements. His chamber music evinces a reserved personality that is appropriate for this kind of music. 1453. Abraham, Gerald. “Glazunov and the String Quartet,” in Tempo, No. 73 (Summer, 1965), 16–21. Abraham deals with the origins of Glazunov’s 7 string quartets and numerous other pieces for string quartet. He also mentions some other composers of Russian string quartets not generally known, such as Aliabev (see 769). 1454. Assmann, Klaus. “Temperamentvoll und empfindsam zu spielen: Alexander Glasunow komponierte für Streichquartett insgesamt neun Werke,” in Neue Musikzeitung, xxxix (August–September 1990), 51. Christoph Willibald Gluck 1714–87 For a catalogue of Gluck’s sonatas, see Cecil Hopkinson, A Bibliography of the Works of C.W. von Gluck 1714–1787 (London: the author, 1959), 60–1. ML 134.G56H6. 1455. Bergmann, Walter. “Gluck’s Trio Sonatas,” in The Musical Times, ciii (1962), 161.

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Bergmann reviews an edition of the 8 sonatas, analyzes them, gives an historical commentary, and makes valid criticisms of details. Karel Goeyvaerts 1923–93 1456. Delaere, Mark, and Jeroen D’Hoe. “Structural Aspects of New Tonality in Goeyvaerts’ String Quartet: The Seven Seals,” in Revue Belge de Musicologie, xlviii (1994), 133–50. Richard Franko Goldman 1910–80 1457. Lester, Noel K. “Richard Franko Goldman: his Life and Works.” DMA dissertation. Peabody Institute of Johns Hopkins University, 1984. UMI 84–17660. DAI xlv.5A, p. 1236. 360 pages. Biographical and bibliographical information on Goldman and, in Chapter VII, a list of chamber music with dates, publishers, style, and reviews. Karl Goldmark 1830–1915 For a general discussion of the chamber music of Karl Goldmark and his relationship to Brahms, see 427. 1458. Altmann, Wilhelm. “Karl Goldmarks Kammermusik,” in Die Musik, xiv.2 (1914–5), 209–21, 255–6. Altmann finds Goldmark to be an individualist who is always true to his own style, and is especially strong in his rhythms and harmonies. He offers a non-technical analysis of the 8 chamber pieces (1865–93), beginning with the Piano Trio Op. 4 and ending with a piano quintet. Berthold Goldschmidt 1903–96 1459. Struck, Michael. “Evidence from a Fragmented Musical History: Notes on Berthold Goldschmidt’s Chamber Music,” in Tempo, No. 174 (September 1990), 2–10. 1460. Matthews, David. “Berthold Goldschmidt: The Chamber and Instrumental Music,” in Tempo, No. 145 (June, 1983), 20–5. Matthews assesses Goldschmidt’s career and analyzes his first and second string quartet (1926 and 1936). The second is a masterpiece.

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1461. Herzfeld, I. “Melodische Linien und Kontrapunkt: Berthold Goldschmidts Streichquartett Nr. 4 in Luebeck uraufgefuehrt,” in Neue Musikzeitung, xlii (August–September 1993), 45. Henryk Mikolaj Gorecki b.1933 1462. Gorecki, Henryk Mikolaj. “Mir ne koncaetsja na socinenii zvukov: Beseda” [“The World beyond Composition of Sounds: A Conversation”], in Muzykal’naja-akademija, iii (2004), 115–18. The Polish composer discusses his works, including the second string quartet “Quasi una fantasia” and the third symphony. François Joseph Gossec 1734–1829 1463. Clauser, Charles Theodore. “François Gossec: An Edition and Stylistic Study of Three Orchestral Works and Three Quartets.” PhD dissertation. University of Iowa, 1966. UM 66–11649. DA xxvii.5A, pp. 1392–3. 2 vols. I: xiv + 235 pages; II: 199 pages of music. A brief biography of Gossec and an analysis and comparison of the 6 works. The quartets are Nos. 1, 2, and 4 from Op. 14 (1769). Clauser gives a bibliography and critical notes. Percy Aldridge Grainger 1882–1961 1464. Slattery, Thomas Carl. “The Wind Music of Percy Aldridge Grainger.” PhD dissertation. University of Iowa, 1967. UM 67–9104. DAI xxviii.2A, p. 713. 265 pages. A list and a discussion of Grainger’s wind chamber music within his biography and the bibliography. Enrique Granados 1867–1916 1465. Ruiz, Sergio H. “The Chamber Music of Enrique Granados.” DMA dissertation. Rice University, 2003. DAI, lxv (August 2004), p. 343A. vii + 157 pages. Since the printed editions of Granados’s 3 chamber pieces (Piano Trio in C major, Piano Quintet in G minor, and the Violin-Piano Sonata) have so many errors, this is a corrected edition of the first movements of those works. It includes a biography, an overview of the chamber works with piano, and a list of the solo and chamber performances that Granados himself participated in between 1886 and 1915.

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Johann Gottlieb Graun (c.1702–71) and Karl Heinrich Graun (1704–59) For discussion of the role of the Graun brothers in the transition from trio sonata to cembalo-obligato sonata, see David Sheldon’s article 317. See also 305. 1466. Wendt, Matthias. “Die Trios der Brüder Johan Gottlieb und Carl Heinrich Graun.” Inaugural dissertation. University of Bonn, 1983. 340 pages. Wendt provides an extensive review of the bibliography on the Grauns, an attempt to define the trio as explained by 18th-century theorists (Mattheson, Majer, Walther, Quantz, Scheibe, Joh. Adam Hiller, Joseph Martin Kraus, Johann Samuel Petri, and Heinrich Christoph Koch), a survey of the sources of the Grauns’s trios, and a description of their form, dates, instrumentation, ornamentation, the tonal relationships among movements, and the inner structure of the movements. He gives special attention to thematic structure and thematic development. He also considers duets by the Grauns. Edvard Hagerup Grieg 1843–1907 For a catalogue of Grieg’s music including chamber pieces, see Dan Fog, Grieg-Katalog (Copenhagen: Dan Fog Musikforlag, 1980), 143 pages. In Danish and German. ML 134.G84F6. ISBN 87-87099-21-7. 1467. Frank, Alan. “The Chamber Music,” in Gerald Abraham, Grieg: A Symposium (London: Lindsay Drummond, 1948; Norman: University of Oklahoma Press, 1950), 32–44. ML 410.G9A47. Frank discusses Grieg’s 5 complete chamber works (3 sonatas for violin + piano and l for cello + piano, and 1 string quartet) and his incomplete string quartet. He surveys Grieg’s strengths and weaknesses as a composer of chamber music and analyzes keys, form, melodies, and general style, with special emphasis on the third violin + piano sonata and the quartet. He notes the cyclic nature of the quartet, Grieg’s greater success in non-sonata-form slow movements, and the importance of the descending melodic pattern tonic—leading tone—dominant (for example, B-flat—A—F). Frank speculates on the potential masterpiece—a piano quintet in B-flat—that survives only in a fragment. He compares the strengths and weaknesses of the chamber music with those of the concerto and shows how some of the unfortunately heavy, continuous triple stops of the quartet are avoided in the incomplete string quartet. This is intelligently written for the informed layperson and student. 1468. Benestad, Finn. “Grieg und der norwegische Volkston: Eine lebenslange Liebesgeschichte.” Musik-Konzepte, cxxvii (January 2005), 67–82.

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Grieg used elements of traditional Norwegian music in the first Violin Sonatas Op. 8 (1865) and Op. 13 (1867), the String Quartet Op. 27 (1877–8), and the Cello Sonata Op. 36 (1883). 1469. Benestad, Finn, and Dag Schjelderup-Ebbe. Edvard Grieg Chamber Music: Nationalism, Universality, Individuality. Oslo: Scandinavian University Press/New York: Oxford University Press, 1993. ISBN 82002-1699-3. ML410.G9B38.1993. 195 pages. An historical presentation of Grieg’s 3 violin-piano sonatas, 1 violoncellopiano sonata, 1 complete and 1 incomplete string quartet, a pianoquintet sketch, and several small works. Benestad, who is editor of the complete works of Grieg, then analyzes all the movements in a style designed for students and performers, not theoreticians. 1470. Oelmann, Klaus Henning. Edvard Grieg als Streichquartettkomponist: eine konzeptionelle und wirkungsgeschichtliche Studie, in Musikwissenschaft/Musikpädagogik in der Blauen Eule, Band 11. Essen: Verlag Die Blaue Eule, 1992. ISBN 3-8920-6462-8. ML410. G9O34.1992. 117 pages. To better understand the reception of Grieg’s music in Germany, Oelmann focuses on Grieg’s 1 complete String Quartet, Op. 27. He concentrates on the sonata form of the first movement and compares it to first movements of quartets by Mendelssohn, Gade, and Debussy; he also analyzes less vigorously the other movements. Of particular interest is the exchange of letters between Robert Heckmann (a violinist in Cologne and leader of a quartet) and Grieg prior to the first performance and Heckmann’s suggestions, as a string player, for interpretation. 1471. Strasser, Michael. “Grieg, the Société nationale, and the Origins of Debussy’s String Quartet,” in Berlioz and Debussy: Sources, Contexts and Legacies: Essays in Honour of François Lesure, Kerry Murphy, ed. (Aldershot/ Burlington: Ashgate, 2007, ISBN: 9780754653929), 103–15. While Gerald Abraham and others have linked stylistic similarities between the 1878 String Quartet of Grieg and the 1893 String Quartet of Debussy, Strasser points to the fact that Grieg’s work received its Parisian premier at a concert of the Société nationale, where Debussy was a young member, and that the politics and policies of French society that provided for the acceptance of the Grieg string quartet may have influenced Debussy to try to emulate the Norwegian. Debussy’s later antagonism to Grieg may be the result of Grieg’s perceived snub of the Society at the time of the performance of the Grieg work. 1472. Kortsen, Bjarne. Zur Genesis von Edvard Griegs G-moll Streichquartett Op. 27. Haugesund: typewriter reproduction by the author, 1967.

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ML 410.G9K63. 148 pages. In German with English and Norwegian summaries. Kortsen’s English essay “Grieg’s String Quartet and Robert Heckmann,” in Music and Letters, xlix (1968), 21–8, covers much the same material. A source book of information on the quartet. Kortsen studies a collection of 17 letters from Robert Heckmann (1848–91), famous German violinist and quartet leader, to Grieg and 1 from Grieg to Heckmann, in which Heckmann makes many suggestions for bowings, double stops, and other practical matters, some of which Grieg accepted (the relevant musical passages are given and the exact nature of the suggestions demonstrated). Kortsen points out a large number of errors in the standard published editions as revealed by a study of the original manuscript. Grieg allowed Heckmann to work out the details, since his quartet was to premier it and it is dedicated to Heckmann. Part of the correspondence touches on Peter’s rejection of the score and its first publication by Fritzsch in Leipzig. Kortsen notes that Debussy based his quartet on this quartet by Grieg. 1473. Oelmann, Klaus Henning. “Ein Skizzenblatt zu Edvard Griegs zweitem Streichquartett,” in Beiträge zur Musikwissenschaft, xxxii, (1989), 208–12. 1474. Yarrow, Anne. “An Analysis and Comparison of the Three Sonatas for Violin and Piano by Edvard Grieg (1843–1907).” PhD dissertation. New York University, 1985. UMI 85–10783. DAI xlvi.7A, pp. 1777–8. 404 pages. Yarrow uses Jan LaRue’s Guidelines for Style Analysis (New York: W.W. Norton, 1970) as her basis for a stylistic analysis of the sound, harmony, melody, rhythm, and growth of these 3 works. It is a theoretic study that aims at helping the performer; it includes interpretive suggestions. 1475. Bruch, Axel. “Verborgene Harmonien”: Satzstruktur und Gattungstradition in Griegs Duosonaten, in Kieler Schriften zur Musikwissenschaft, Band 49. Kassel: Bärenreiter, 2002. ISBN 3-7618-15583. 336 pages. Originally “Studien zu den Kammersonaten von Edvard Grieg,” PhD dissertation, Christian-Albrechts-Universität zu Kiel, 2001. Bruch provides detailed stylistic, formal and especially harmonic analyses of the 3 violin-piano sonatas (Opera 8, 13 and 45) and violoncello-piano sonata (Op. 36) by Grieg. Bruch begins with Grieg’s position as a Norwegian and the relationship of Nordic folklore to chamber music, which was a German genre in his time. He reviews the most important violin-piano and violoncello-piano sonatas by

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Beethoven, Schubert, Schumann, Felix Mendelssohn, Gade, and Brahms in order to place the Grieg sonatas in perspective. Charles T. Griffes 1884–1920 For a catalogue of Griffes’s chamber music, see Donna K. Anderson, The Works of Charles T. Griffes: A Descriptive Catalogue, in Studies in Musicology, No. 68 (Ann Arbor: UMI Research Press, 1983), 379–410. ML 134. G85A73.1983. ISBN 0-8357-1419-5. 1476. Barrett, Constance Elizabeth. “Towards Development of a Critical Edition of the String Quartets of Charles Tomlinson Griffes.” DMA dissertation. Ohio State University, 1994. DAI Vol. lvi (July 1995), p. 20A. 59 pages. Historical and bibliographic study of Griffes’s quartet movements, which were written both early and then late in his career. Barrett includes commentary on the sketches. 1477. Anderson, Donna K. Charles T. Griffes: A Life in Music. Washington [DC]: Smithsonian Institution Press, 1993. ML410.G9134A8.1993 ISBN 1-5609-8191-1. xvii + 313 pages. A biography with reference to when the 2 string quartet movements based on Indian themes were composed and first performed. Sofia Asgatovna Gubaidulina b.1931 A brief biography and recent list of works, including many chamber compositions, are in Valentina Kholopova’s article on Gubaydulina in The New Grove 1. The bibliography has no special studies on her chamber music. 1478. Sarkisjan, Swetlana. “Die Streichquartette Sofia Gubaidulinas als Versuch der Erschliessung des sonoristischen Raumes.” International Review of the Aesthetics and Sociology of Music, xxxvi (December 2005), 271–86. In German with abstracts in Croatian, English, and German. Gubaidulina is one of the most creative late-20th-century composers, and here is a good explanation of what she has been trying to accomplish. The expansion of the sound palate in the 20th century results in the need for new concepts of form, which with Gubaidulina involves extramusical factors. These factors include words, gesture, and ritual. In the quartets, she uses a vast array of bowed and plucked strings and harmonics—many articulations of her own invention but some also borrowed from string performances in Eastern folk music—that serve as symbols of mundane or heavenly spheres through which she

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travels horizontally. A single sound, conceived vertically, however, can penetrate either the mundane or heavenly sphere, too; and since she is seeking the heavenly, she uses an unusually large number of very high tones. The article discusses Gubaidulina’s religious beliefs— mankind is one with God, plurality is oneness, East and West are one—and her 4 string quartets are excellent examples of this. 1479. Koay, Kheng Keow. “A Reflection of Moment Form in Sofia Gubaidulina’s String Quartet No. 3,” in Theoria Historical Aspects of Music Theory, xi (2004), 109–24. Gubaidulina’s third quartet (1987) utilizes moment form whereby there is a succession of moments each seemingly without beginning or end and without the traditional connections of moment to moment. Each moment is characterized by timbre and texture. Yet Koay finds 3 prominent motives that recur, some audible just below the surface level and others hidden behind textural moments, and these motives give cohesiveness to the piece. This is a good introduction to the uniqueness of Gubaidulina’s chamber music. 1480. Hamer, Janice Ellen. “Sofia Gubaidulina’s Compositional Strategies in the String Trio (1988) and Other Works.” PhD dissertation. City University of New York, 1994,. DAI Vol. lvi (July 1995), p. 23A. 149 pages. Hamer uses the string trio to demonstrate the most salient characteristics of Gubaidulina’s style, which is much more complicated than was previously thought. Marie-Alexandre Guénin 1744–1835 1481. Robert, Frédéric. “Une Découverte Musicologique: Trois Quatuors Opus VII de Marie-Alexandre Guénin (1744–1835),” in “Recherches” sur la Musique Française Classique, I (Paris: A. & J. Picard, 1960), 145–52. ML 270.R43. Rediscovery of 3 quartets mentioned by Fétis (Biographie Universelle, ed. Didot [1861], IV, 132), but lost when La Laurencie discusses Guénin (L’École Française de Violon de Lully … Viotti 322). An analysis with musical illustrations of the second quartet, in G minor and in 4 movements. It is Mozart-like in some passages, Mendelssohn-like in others. César Guerra Peixe 1914–93 1482. Viana, F. H. “A comunicabilidade de Música (1944) para flauta e piano de César Guerra Peixe,” in Música Hodie, vi, No. 2 (2006), 95–118. Includes abstracts in English and Portuguese.

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Louis-Gabriel Guillemain 1705–70 1483. La Laurencie, Lionel de. “Un Virtuose Oublié: Louis-Gabriel Guillemain (1705–70),” in Le Courrier Musical, ix (1906), 489–500. A scholarly biography of this French violinist, pointing out his duties at the French court from 1738 on and his continual financial woes. La Laurencie gives a temporary list of 16 oeuvres containing, among other types, many sonatas a1, a2, and a4 with bass, as well as duets without bass. He analyzes the music and demonstrates Guillemain’s considerable violinistic technique. 1484. Snyder, Robert Charles. “The Twelve Quartets of Opus XII and XVII by Louis-Gabriel Guillemain in Historical and Stylistic Analysis.” DMA dissertation. University of Missouri–Kansas City, 1973. RILM 68– 3680. UM 73–25947. DA xxxiv.5A, p. 2688. 2 vols. 519 pages. A biography followed by analyses of texture, keys, form, melodic contour, and harmony in the 12 quartets. Homophonic style and rapid interchange of leading parts and accompaniment characterize these Rococo products of Louis XV’s court, where they served as light background music. Cornelius Gurlitt 1820–1901 1485. Funck, Heinz. Beiträge zur Altonaer Musikgeschichte von den Anfangen des offentlichen Konzartlebens bis zum musikalischen Biedermeier bei Cornelius Gurlitt, in Altonaische Zeitschrift für Geschichte und Heimatkunde, Band 6. Neumünster in Holstein: Karl Wachholtz, 1937. Basic information about Gurlitt, who was an important composer of Hausmusik in Germany; he was similar to Reincken. Alois Haba 1893–1973 1486. Bartel, Kerstin. “Mikrotonalitaet mit psychologischem Inhalt: das 16. Streichquartett op. 98 im Fuenfteltonsystem von Alois Haba,” in Musica, xlvii (1993), 308–9. Kimmo Hakola b.1958 1487. Otonkoski, Lauri. “Up Front: Kimmo Hakola’s String Quartet,” in Finnish Music Quarterly, No. 3 (1991), 36–8.

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Iain Hamilton 1922–2000 1488. Thompson, Randall Scott. “The Solo Clarinet Works of Iain Hamilton.” DMA dissertation. University of Maryland, 1976. UMI 76–29017. DAI xxxvii.6A, p. 3262. 141 pages. An analysis, assessment of the treatment of the clarinet, and historical discussion of 4 early works: Quintetto, Three Nocturnes, Concerto, and Sonata. George Fredrich Handel ( = Georg Friedrich Händel) 1685–1759 For a catalogue of Handel’s chamber music, see Bernd Baselt, Thematischsystematisches Verzeichnis: Instrumentalmusik, Pasticci und Fragmente, in Händel-Handbuch, Band 3, supplement to Hallische Händel-Ausgabe (Kassel: Bärenreiter, 1986), 130–209. ML 134.H16A19.Bd.3. ISBN 3-7618-0716-3. For a bibliography of studies of Handel’s sonatas, see Konrad Sasse, Händel Bibliographie (Leipzig: VEB Deutscher Verlag für Musik, 1961), 212–14, and for a discography, 252–3. ML 134.H16S27. 1489. Best, Terence. “Handel’s Solo Sonatas,” in Music and Letters, lviii (1977), 430–8. Authenticates the solo sonatas of Handel and their scoring. Handel’s autographs are precise in their scoring indications even if the prints are ambiguous: 15 sonatas are authentic, 14 survive in autograph; of these, 5 are for violin + continuo, 6 are for recorder + continuo, 2 for flute + continuo, and 2 for oboe + continuo. Best is the editor of volume 3 of solo sonatas in Hallische-Händel-Ausgabe (Series iv, Vol. 18). See also Bern Baselt, “Zu einigen Fragen der Authentizität in G.F. Händels Kammermusik für ein Soloinstrument und Basso Continuo,” in 213, pages 47–9. 1490. Best, Terence. “Further Studies on Handel’s Solo Sonatas,” in Händel-Jahrbuch, xxx (1984), 75–9. Best gives a highly technical study of the watermarks on the manuscript copies of the 12 English solo + continuo sonatas in order to date the sonatas more accurately (Händel Werkverzeichnis [HWV] 378: c.1707; 363a-b: 1712–16; 366: 1712; 364: 1724; 359a: 1724; 377: 1724–25; 367a: 1724–26; additions to 367a: 1725–26; 360, 362, 365, 369: 1725–26; 361: 1725–26; 379: 1727–28; 371: c.1750). 1491. Horton, John. “The Chamber Music,” in Gerald Abraham, ed., Handel: A Symposium (London: Oxford University Press, 1954), 248–61. ML 410.H13A66.

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Horton supplies useful information on the music for the informed layperson despite errors in dates and authentication (corrected in 1489 and 1490). He analyzes specific collections, Handel’s debt to Corelli in sonate da chiesa and da camera, and technical achievements in the composition of specific movements. The principal value in this chapter is in pointing to Handel’s reuse of previous motives, melodies and whole movements. 1492. Pook, Wilfrid. “Notes on the Violin Sonatas of G.F. Handel,” in The Strad, lxv (1954), 186, 188, 190, 192, 194, 196. A bibliographic discussion of early and recent editions of these sonatas. Pook describes bowing, dynamics, trills, cadences, improvisation, and realization of the figured bass—this is written from the publisher’s standpoint but it is obviously of concern to the performer, too. 1493. Gould, Albert Oren. “The Flute Sonatas of Georg Friedrich Handel: a Stylistic Analysis and Historical Survey.” EdD dissertation. University of Illinois, 1961. UM 62–607. DA xxii.12, p. 3690. 206 pages. Gould attempts to recreate the image of the sonatas in their 18th-century setting, and he compares Handel’s flute and violin sonatas and other flute sonatas of the time. He traces the evolution of the transverse flute. 1494. Meyer, Eve Rose. “Has Handel Written Works for Two Flutes without a Bass?” in Music and Letters, xvi (1935), 293–5. Meyer points out that Handel never wrote for 2 flutes alone. A collection of 6 duos for 2 flutes attributed to Handel is actually by G.Ch. Schultze (1729), and other duos for 2 flutes are arrangements (by others?) of opera and oratorio excerpts. Handel never wrote for 2 flutes alone. Roy Harris 1898–1979 1495. Mendel, Arthur. “The Quintet of Roy Harris,” in Modern Music, xvii (1939), 25–8. A favorable critique and brief analysis of the quintet for piano and strings. All of the themes are typically Harris, yet each is 12-tone. Harris also achieves more variety of texture and color than in his earlier chamber music pieces. The quintet makes a good initial impression on the general chamber music audience, who can love it before understanding it. Karl Amadeus Hartmann 1905–63 1496. McCredie, Andrew D. Karl Amadeus Hartmann: sein Leben und Werk. New edition, zum 100. Geburtstag des Komponisten. Wilhelmshaven:

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Florian Noetzel Verlag, 3795902975. 334 pages.

Heinrichshofen-Bücher,

2004.

ISBN

A detailed biography of Hartmann that discusses the compositions historically and analytically. Hartmann wrote 2 string quartets, 2 sonatas for violin and piano, and several other chamber works including works for winds and percussion. His style was atonal but his technique was not dodecaphonic. McCredie adds a substantial bibliography. Joseph Haydn 1732–1809 For a catalogue of Haydn’s chamber music, see Anthony van Hoboken, Joseph Haydn: thematisch-bibliographisches Werkverzeichnis, I: instrumental works (Mainz: B. Schott’s Söhne, 1957), xxi + 848 pages, and III: register, addenda and corrections (1978), 424 pages. ML 134.H272H6 (Vol. 3: ISBN 3-7957-0003-5). For Haydn’s own catalogues of his chamber music, see Jens Peter Larsen, Three Haydn Catalogues: Drei Haydn Kataloge: Second Facsimile Edition with a Survey of Haydn’s Oeuvre (New York: Pendragon Press, 1979), xlvi + 119 pages. ML 134.H272A1.1979. ISBN 0-918728-10-X. For a non-technical introduction to Haydn’s chamber music, see Rosemary Hughes’s essay in Alec Robertson, ed., Chamber Music 212. 1497. Landon, H. C. Robbins, and David Wyn Jones. Haydn: His Life and Music. Bloomington: Indiana University Press, 1988. ML410.H4L265. 1988. ISBN 0-253-37265-8. 383 pages. One of the definitive biographies of Haydn, it includes historical discussion of Haydn’s chamber music inter alia. In the index and table of contents there are specific mentions of trios, quartets, and other chamber music. 1498. Landon, H.C. Robbins. Haydn: Chronicle and Works. Bloomington/ London: Indiana University Press, 1976–80. ML 410.H4L26. ISBN: 0-253-37001-9/37002–7/37003–5/37004–3/37005–1. 5 vols. I: 655 pages; II: 799 pages; III: 639 pages; IV: 656 pages; V: 495 pages. A basic reference for historical information on all Haydn’s music. Part I of each volume is a year-by-year, month-by-month, even dayby-day chronicle of Haydn’s life, with references to chamber music in the index of cited works at the end of each volume. Part II of each volume considers specific genres of works, with extensive descriptions of sources and historical background and some analysis. Chamber music has at least 1 large chapter in each volume (Vol. I, 1732–65, is subdivided differently and has at least 3 large sections on chamber music within 3 different chapters).

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1499. Larsen, Jens Peter, Howard Serwer and James Webster, eds, Haydn Studies: Proceedings of the International Haydn Conference Washington, D.C., 1975. New York/London: W.W. Norton, 1981. ML 36. I59593.1975. ISBN 0-393-01454-1. xvii + 590 pages. This is an enormously important collection of papers and discussions on various aspects of Haydn research, among which are the following on chamber music: “Round Table: Problems of Authenticity— ‘Opus 3’” (pages 95–106) [an agreement that Op. 3 is not by Haydn and is probably by Hoffstetter]; Hubert Unverricht, “Haydn and Franklin: The Quartet with Open Strings and Scordatura” (pages 147–54) [shows that these 2 works are neither by Haydn nor Franklin but by some unknown, possibly South German, composer c.1790]; “Workshop 3: String Quartets” (pages 227–33) [No. 2 on problems in the sources that affect performance]; Unverricht, “The Instrumentation of the Lowest Part in the Divertimento … Quattro” (pages 233–5) [considers the second inversion chord that results from only a cello scoring and finds it acceptable]; Webster, “The Scoring of Haydn’s Early String Quartets” (pages 235–8) [reviews his other essays: a bass is unlikely through Op. 1 and Op. 2 because of range problems for the instrument, although it could double the cello; a cello is probable for Opp. 9 and 17; a cello alone is most likely from Op. 20 on]; “Workshop 6: Piano Trios” (pages 267–74) [on the instruments used, the musical expression or rhetoric, performance markings in the autographs, and articulation]; Isidor Saslav, “The alla breve ‘March’: Its Evolution and Meaning in Haydn’s String Quartets” (pages 308–14) [considers how certain rhythmic patterns from Op. 50 on were notated differently prior to then—Mozart’s influence—and how this is affected by tempo]; Webster, “Did Haydn ‘Synthesize’ the Classical String Quartet” (pages 336–9) [warns against an evolutionary approach to “Classical”—a stylistic consideration—as proposed by Sandberger when he refers to a late synthesis of earlier styles]; “Round Table: Webster, ‘Remarks on Early Chamber Music’” (pages 365–7) [shows how similar Haydn’s melodies are to his contemporary Austrian and Bohemian colleagues]; Somfai, “Haydn’s London String Quartets” (pages 389–92) [the London quartets Op. 71 – Op. 74 were not in his old chamber style but meant for public audience in concert halls]; various articles on Mozart and Haydn influencing each other in their chamber works (pages 405–14); Orin Moe, Jr., “The Significance of Haydn’s Op. 33” (pages 445–50) [finds Op. 50 is the first to present all classical style elements not Op. 33 but, while not denying the importance of Op. 33, notes the important return in Op. 50 of equal voice treatment experimented with in Op. 20]; Lester S. Steinberg, “A Numerical Approach to Activity and Movement in the Sonata-Form

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Movements of Haydn’s Piano Trios” (pages 515–22); and Webster, “Freedom of Form in Haydn’s Early String Quartets.” 1500. Hurwitz, David. Exploring Haydn: A Listener’s Guide to Music’s Boldest Innovator. Pompton Plains (NJ): Amadeus Press, 2005. ISBN 1–574671162. xvi + 200 pages. An uncomplicated presentation of the instrumental music of Haydn including string quartets and piano trios. Hurwitz analyzes the first movements of all his examples, then the slow movements, then the minuets and trios, and then the finales. The approach is similar to that taken by David Young 1516. The book is accompanied by 2 CDs prepared on Naxos. 1501. Fruehwald, Scott. Authenticity Problems in Joseph Haydn’s Early Instrumental Works: A Stylistic Investigation, in Monographs in Musicology, No. 8. Stuyvesant (NY): Pendragon Press, 1988. ISBN 0-9187-2867-3. viii + 275 pages. Originally “Authenticity Problems in Franz Joseph Haydn’s Early Instrumental Works: A Stylistic Investigation.” PhD dissertation. City University of New York, 1984. UMI 84–23057. DAI xlv.7A, p. 1908. 297 pages. Fruehwald investigates the authenticity of many early multi-movement chamber works attributed to Haydn but probably not by him (including the Op. 3 quartets now attributed to Hoffstetter). The approach is by stylistic comparison of works probably by Haydn as a young man to works by other composers of the time and then by using the criteria that make Haydn’s work distinct in that comparison to determine whether other works of doubtful authorship are by Haydn or someone else. Questions of historical probability including analysis of watermarks and other common methods to determine authorship are of minor importance in this study. Fruehwald agrees that Op. 3 quartets are not by Haydn, but he throws into question whether Hoffstetter wrote all of them. Works included are: 1) accompanied keyboard divertimenti (authentic: Haydn-Gesamtausgabe XIV.12, 13, C1, C2, XVIII.F2; spurious: Concertino in D); 2) keyboard trios (authentic: XV.1, 34–38, 40, 41, C1, F1); 3) string trios (authentic: V.C1, C4, D1, D3, F1, G1, G3, G4, A2, A3, B1; spurious: V.C2, C3, C5, C6, C7, C8, D4, D, Eb2–5, Eb11, E2, F7, F9, G5, A8, B4, B7), Op. 3 String Quartets (spurious); divertimentos, and other categories. 1502. Landon, H.C. Robbins. “Doubtful and Spurious Quartets and Quintets Attributed to Haydn,” in The Music Review, xviii (1957), 213–21. This is an exhaustive listing and discussion of sources of “Haydn’s” String Quartets Opp. 11 (XI), 18 (XVIII), 21 (XXI), and 28 (XXVIII), String Quintets Op. 22 (XXII), and Flute Quartets Op. 25 (XXV), all

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of which are by other composers. In addition, 32 single string quartets and 10 single string quintets are listed and discussed and attributed to other authors—many of these had been omitted from Larsen’s catalogue (sections ix and iii). 1503. Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: The Viking Press, 1971. 2nd, rev. ed. New York: W.W. Norton/Toronto: George J. McLeod, 1972. ML 195.R68.1972. ISBN 0-393-00653-0. 467 pages. Enl. 3rd ed. New York: W. W. Norton, 1997. ML 195.R68.1997. xxx + 533 pages. Although the entire book is important, 3 chapters are especially relevant: the chapters on Haydn’s string quartets, Mozart’s string quintets, and Haydn’s piano trios. On Haydn’s quartets, Rosen points out the different approaches to “wrong keys” and “false” tonal openings in C.P.E. Bach’s and Haydn’s sonatas, and then extends this to the Op. 33 quartets where the logic is more rigorous and the dramatic force far more compelling. The voices are not equal and independent (a Baroque characteristic) but melody and accompaniment with one transforming into the other. Haydn’s climaxes come just after the start of the recapitulation, not before it. The small detail systematically functions in the whole, whereas in earlier works (before Op. 33) some details never recur or have no bearing on the movement as a whole. Rosen draws a parallel between the scherzi designation for the minuet movements and the comic operas that preoccupied Haydn especially from 1776 on, and traces the new, rapid pace of the quartets to the rapid pace of comic opera. The “sense that the movement, the development, and the dramatic course of a work all can be found latent in the material … [and that the music] is literally impelled from within—this sense was Haydn’s greatest contribution to the history of music.” Rosen analyzes later Haydn quartets, especially Op. 50, Nos. 1 and 6, and Op. 55, No. 3, with special emphasis on the new Haydn energy. The ideal string quartet lasts only from Haydn to Schubert, yet most people equate chamber music with the string quartet. This is because the classical string quartet “is the natural consequence of a musical language in which expression is entirely based on dissonance to a triad.” On the trios, Rosen notes the feeling of improvisation in the solo keyboard and the need for recognition by modern performers of the proper balance of the 3 instruments in 18th-century terms. This is a good overview of the piano trios. On the Mozart quintets, Rosen treats them chronologically, emphasizing Mozart’s debt to Haydn (for example in K. 174 to Haydn’s Op. 20). He notes that the first movement of K. 515 is the largest sonata-form movement before Beethoven and is revolutionary also for its expansion, its pacing, and its phrasing. Such

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expansion was needed to give more room to the greater density of 5 rather than 4 instruments. “The essence of Mozart’s ‘classicism’ is the equilibrium between the intensity of the expression and the tonal stability which fixes the dimensions of each work.” General studies of the string quartets 1504. Grave, Floyd K. and Margaret Grave. The String Quartets of Joseph Haydn. Oxford/New York: Oxford University Press, 2006. ISBN: 0195173570. x + 382 pages. An exhaustive, up-to-date study of the quartets. After introductory chapters on the repertory, character, texture, ensemble technique, and forms of the quartets in general, each quartet group is discussed as a whole unit and placed within its historical context. The book has good footnotes and a large bibliography. It is written for the professional performer, informed music lover, and music critic. For lessons to be learned from a study of the autographs of Haydn’s string quartets, see the essays by László Somfai, James Webster, and Georg Feder in Christoph Wolff, ed. The String Quartets of Haydn, Mozart, and Beethoven 261. Since the origins and early development of the Haydn quartets are synonymous with the origins and early history of the genre itself, many studies of the early string quartet (in Chapter II) could just as suitably be included here. The most important such study is Ludwig Finscher’s Studien zur Geschichte des Streichquartetts 234, which exhaustively documents Haydn’s quartets and their style and structure up through Op. 33 (1781). See also Adolf Sandberger, “Zur Geschichte des Haydnschen Streichquartetts” 239. 1505. Webster, James. “The Chronology of Haydn’s String Quartets,” in The Musical Quarterly, lxi (1975), 17–46. A definitive study, based on 50 years of research by leading Haydn scholars, on the authenticity and chronology of Haydn’s 68 string quartets. The first 10 quartets pose the greatest problems but probably date from the late 1750s; all the others are precisely dated or nearly so. Based on the chronology, the quartets fall into 2 groups: those through Op. 33 (1781), composed sporadically, and those from Op. 42 to Op. 103 (1785–1803), composed on a regular basis. 1506. Webster, James. “Haydn’s String Quartets,” in Haydnfest: Music Festival: September 22–October 11, 1975: International Musicological Concerence: October 4–11, 1975 (Washington, D.C.: Kennedy Center Program, 1975), 12–17. ML 410.H4H4.1975.

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A brief, accurate description of the Haydn quartets, their style, historical development, and significance. 1507. Barrett-Ayres, Reginald. Joseph Haydn and the String Quartet. New York: Schirmer Books, 1974. ML 410.H4B2445.1974. 417 pages, 208 musical examples. Chronological, historical discussion of the quartets with chapterlength diversions comparing them with those by Mozart and Beethoven. Barrett-Ayres gives a technical discussion of style but attempts to explain technical terms for the layperson. This book is valuable as a basic reference to the quartets, with useful indices. 1508. Hunter, Mary. “The Quartets,” in The Cambridge Companion to Haydn, Caryl Clark, ed. (Cambridge/New York: Cambridge University Press, 2005, ISBN 0521833477). 1509. Somfai, László. “Die Entstehung des klassischen Quartettklanges in den Streichquartetten von Haydn” (“A Klasszikus Kvartetthangzas Megszületése Haydn Vonósnégyeseiben”), in Bence Szabolcsi and Dénes Bartha, eds, Haydn Emlékére Zenetudományi Tanulmányok VIII (Budapest: Akadémai Kiadó, 1960), 295–420. ML 410-H4S98. In Hungarian, with a German summary on pages 417–20. Characterizes the string quartet genre and all chamber music in Classical Vienna through an analysis of the Haydn quartets. Somfai notes the steady development of idiomatic string quartet writing distinct from orchestral and divertimento types and the growth of Haydn’s own idioms. This is a very scholarly, extremely important study, which is available unfortunately only to those who read Hungarian. For an early attempt to disprove Haydn’s authorship of Op. 3, see 1538. 1510. Hughes, Rosemary. Haydn String Quartets, in BBC Music Guides, No. 6. Seattle: University of Washington Press, 1969. MT 145.H2H8. 1969. Originally London: BBC, 1966. 56 pages, 17 musical examples. A non-technical, very elementary introduction to the quartets. 1511. Svensson, Sven Erik Emanuel. Joseph Haydns Strakkvartetter. Stockholm: H. Geber, 1948. MT 145.H2S8. 250 pages. In Swedish. Svensson discusses each of Haydn’s authentic quartets from Op. 20 on and summarizes the early quartets, including Op. 3 and others no longer attributed to Haydn. He provides simple programs for the layperson. 1512. Keller, Hans. The Great Haydn Quartets: Their Interpretation. London: J.M. Dent/New York: George Braziller, 1986. ML 410. H4K29.1986. ISBN 0-8076-1167-0. vii + 253 pages.

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Highly personal yet fascinating discussion of nearly all the quartets from Op. 20 on (and Op. 9 No. 4). Keller considers whatever is deemed important for performers and others in each case: rhythm, form, tonality, range, texture, technique, and so on. 1513. Feder, Georg, and Walter Reicher, eds. Internationales Musikwissenschaftliches Symposium “Haydn & das Streichquartett” im Rahmen des “Haydn Streichquartett Weekend” Eisenstadt, 1.-5. Mai 2002: Referate und Diskussionen. Tutzing: Schneider, 2003. ISBN 3795211336. 1514. Demaree, Robert William, Jr. Involvement with Music: Introduction to the Haydn Quartets. New York: Harper’s College Press, 1976. MT 145.H2D4. ISBN 0-06-161010-1. 42 pages. A text for students who read music. This is a history and analysis of the structure and style of the quartets in general, and explanations of basic forms and other concepts. Then Demaree concentrates on Op.33 No. 2, Op. 64 No. 5, and Op. 76 No. 5; he analyzes primarily form in each movement but also melody, rhythm, and tonality. Appendix A lists Haydn’s quartets (erroneously includes all of Op. 2) with dates; Appendix B gives modern printed editions and discography. 1515. Blume, Friedrich. “Joseph Haydns künstlerische Persönlichkeit in seinen Streichquartetten,” in Jahrbuch der Musikbibliothek Peters für 1931, xxxvii (1932), 24–48. Reprint in Blume, Syntagma Musicologium, i (Kassel: Bärenreiter, 1963), 526–51 and 899–900. Reprint of the Jahrbuch, Vaduz: Kraus Reprint, 1965. Blume argues that the artist’s personality is revealed in his reworking of a single genre of music without destroying the central idea of that genre. String quartets are a single genre and, although he continually reshapes the details, Haydn does not alter his basic idea of the quartet. This idea is not irrational but something that can be defined and understood. Blume is not concerned with the origins of the Haydn quartet but, rather, concentrates first on the dating, ordering, form, and style of the early quartets (here encompassing all of Opp. 1 and 2). Op. 3 is called experimental since it has nothing to do with Opp. 1 and 2. With Op. 9, Haydn begins to aim toward the central idea with technical achievements (4 movements, sonata form, deepening the thoughts through repetition, variation, and modulation of themes as part of sonata form development, and defining the purposes of the non-sonata-form movements). Op. 17 bears the first real evidence of Haydn’s personality through the first real achievement of the idea; there are 3 changes from Op. 9: a deeper inner relationship among movements, a closer integration of the 4 instruments—except in slow movements—and a more organized thematic work within

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movements. Op. 20 was too radical and led nowhere (picked up possibly by late Beethoven). Rather, Haydn needed 10 years to redirect his means to the idea. He achieved unity in Op. 20 but lost the expressive polarity of contrast. In Op. 33, there is thematic relationship, but this is set against greater contrasts; this is classical maturity. Blume has much less to say about the later quartets. Now the personality of Haydn that emerges is not the “Papa” image told to children; rather, Haydn was a strong-willed, dramatic man with a hot heart and a cool head. The evolution of the quartet idea shows these characteristics. 1516. Young, David, ed. Haydn, the Innovator: A New Approach to the String Quartets. Todmorden (UK): RNCM in association with Arc Music, 2000. ISBN 1–900072378. 154 pages. This new approach analyzes the first movements of all the quartets in a chapter (by Denis McCaldin), all the minuets and trios in another (David Wyn Jones), all the slow movements in a third (David Young), and all the finales in a fourth (Michael Spitzer). There is an opening chapter by John Irving on the Haydn quartets as a genre, and a final chapter by Alan George on performing the quartets. An appendix lists the quartets chronologically, and there is a short bibliography that misspells Carl Dahlhaus’s name. See also David Hurwitz, Exploring Haydn 1500. 1517. Bowker, Barbara Ellen. “Intensification Relationships between Texture and Other Elements in Selected String Quartets of Haydn.” PhD dissertation. Northwestern University, 1988. DAI Vol. il (November 1988), p. 990A. 172 pages. An analysis of some Haydn quartets written over a period of time with the intent to understand how Haydn achieved intensity. 1518. Silbert, Doris. “Ambiguity in the String Quartets of Joseph Haydn,” in The Musical Quarterly, xxxvi (1950), 562–73. Silbert draws attention to William Empson’s Seven Types of Ambiguity, 2nd ed. (New York: 1947), and thereupon carefully defines “ambiguity” in musical terms (harmonic, rhythmic, and melodic) and then applies it to various Haydn quartets. Ambiguity “results from the impact of some kind of counter movement upon the cumulative movement.” 1519. Finscher, Ludwig. “Corelli, Haydn und die klassischen Gattungen der Kammermusik,” in Gattungen der Musik und ihre Klassiker, ed. Hermann Danuser, in Publikationen der Hochschule für Musik und Theater Hannover, i (Laaber: Laaber-Verlag, 1988), 185–95.

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Finscher compares the situations in which Corelli’s work defined the trio and violin sonata and Haydn’s chamber music defined the string quartet. Corelli fashioned “classical” models for his contemporaries, and Finscher lists 8 manifestations of this, which are then next duplicated only with Haydn’s quartets. But there are differences: the public was of a different sort; Haydn accomplished this with the symphony, too; Corelli’s style was easier to plagarize than Haydn’s; Haydn’s contemporaries and successors were more taken with being original than being imitators. The biggest difference is that Corelli produced finished models from the beginning of Op. 1 without evolution, while Haydn’s string quartets continually evolved (even the name changed from divertimento in the 1760s to string quartet in the 1780s). Much of this essay considers why and how Haydn struggled to develop the ideal string quartet structure and style. 1520. Kroher, Ekkehart. “Die Polyphonie in den Streichquartetten Wolfgang Amadeus Mozarts und Joseph Haydns,” in Wissenschaftliche Zeitschrift der Karl-Marx-Universität Leipzig, v (1955–6), 369–402. Kroher assesses the polyphonic training of Haydn and Mozart and the influence of polyphonists on them. He studies the fugue finales of their quartets (specifically Haydn’s Op. 20 No. 2 and Op. 50 No. 4 and Mozart’s K. 173 and K. 387) and their use in the string quartets of canon; fugato; simple, double, and related counterpoint; contrary motion; inversion; pedal point; and strict and free imitation. Haydn’s Op. 20 influenced Mozart’s K. 168 and K. 173 quartets in their use of fugues for finales, but there is no such connection between Op. 50 No. 4 and K. 387. Kroher considers the use of fugues by other contemporaries even if it was regarded as outmoded. 1521. Wiesel, Siegfried. “Klangfarbendramaturgie in den Streichquartetten von Joseph Haydn,” in Haydn-Studien, v (1982), 16–22. Finds symmetric patterns for Haydn’s choice of melodic instrument among the 4 instruments of the string quartet. See also Saslav’s and Webster’s contributions in 1499 and Webster’s essay on the scoring in Mozart quartets in 1850. 1522. Grave, Floyd K. “Concerto Style in Haydn’s String Quartets.” The Journal of Musicology, xviii (Winter 2001), 76–97. The concerto-like passages in many Haydn string quartets should not be viewed as misguided disruptions of his establishment of the quartet ideal of equality but rather as his respect for the diversity of possibilities within the quartet texture. An occasional concerto-like flourish, especially in the slow movements but not limited to them,

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aided the public acceptance of the quartets and gave gifted violinists an opportunity to show their exuberance. Grave discusses many such instances from the earliest to the latest quartets. 1523. Demaree, Robert William, Jr. “The Structural Proportions of the Haydn Quartets.” PhD dissertation. Indiana University, 1973. UM 74–9419. DA xxxiv.10A, pp. 6682–3. 264 pages. Demaree finds 22 basic compositional procedures in the quartets, with “six structural effects of these operations and several types of apparent meaning believed to be communicated to the listener as the results of architectural modifications.” Then he compares the movements based on this system and also on tonal and rhythmic organization. He identifies “certain proportional patterns … common in the Haydn quartets” and re-evaluates the terms “symmetry” and “regularity” in light of this research. Demaree provides a thought-provoking, systematic analysis of the quartets from an unusual angle. 1524. November, Nancy Rachel. “Haydn’s Vocality and the Ideal of ‘True’ String Quartets (Joseph Haydn, Austria).” PhD dissertation. Cornell University, 2003. ISBN 0496520088. DAI, lxiv (March 2004), p.3132A. 284 pages. The North German ideal of chamber music c.1800 was less the conversational, homogenetic ideal that has been discussed by most writers on the string quartet since this time and more one of the lyric, aria-like quality of the music. November discusses the string quartets of Haydn as truly vocal, an aesthetic that has been overlooked by contemporary writers on Haydn but that was often expressed by early-19th-century writers. It provides a new way to listen to these pieces. This topic is pursued in November, “Haydn’s Melancholy Voice: Lost Dialectics in his Late Chamber Music and English Songs,” in Eighteenth Century Music, iv (March 2007), 71–106. 1525. Pusey, Marcel W. “Haydn’s Instrumental Music and the Fallacy of Sturm und Drang: Issues of Style in the Symphonies, String Quartets, and Keyboard Sonatas c. 1766–72.” PhD dissertation. Duke Univeresity, 2005. ISBN 0542210347. x + 277 pages. This is an important thesis on Haydn’s instrumental music in general during the period 1766 to 1772 in which the string quartets are central to the discussion. Pusey debunks the commonly held theory that the works of this period are influenced by the literary “Sturm und Drang” movement. Rather, they are influenced by operatic trends witnessed in Vienna in Gluck’s operas and are the result of harmonic trends (such as use of the minor) that predate these 6 years and stem from the music of Carl Philip Emanuel Bach. There is a continuity

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rather than a break in the writing style of Haydn during this period. The composer was not responding to personal emotional crises (that probably did not exist), but rather Haydn was experimenting within purely musical confines to find a more expressive style. This dissertation is well researched and well thought out. 1526. Reed, Carl Hadley. “Motivic Unity in Selected Keyboard Sonatas and String Quartets of Joseph Haydn.” PhD dissertation. University of Washington, 1966. UM 66–7893. DA xxvii.2A, p. 501. 178 pages, 56 examples. Reed produces diagrams and studies motivic unity in 17 movements from the keyboard sonatas and 28 movements from the string quartets. He reviews secondary discussions of the subject from 1813 to 1965 and proposes the term “unimotivic” to replace the term “monothematic.” 1527. Hinderberger, Adolf. Die Motivik in Haydns Streichquartetten. Turbenthal: Robert Furrers Erben, 1935. ML 410.H4H5. vii + 88 pages, 169 musical examples. Inaugural dissertation. University of Bern, 1933. A study of the construction of the principal themes in Haydn’s string quartets. It is scholarly but mostly analytical. Hinderberger analyzes the themes by themselves; he divides them into those composed of the repetition of the same motive (exactly or altered), those composed of 2 different motives, and those composed of 3 motives. The argument is not weakened by the inclusion of Op. 3 and other quartets no longer recognized as Haydn’s. Hinderberger realizes that despite the dissection, the themes are unities that cannot always be cleanly divided. Although Haydn gives the appearance of folk-like simplicity, in many cases the structure is complicated. 1528. Germann, Jörg. Die Entwicklung der Exposition in Joseph Haydn’s Streichquartetten. Bern: Kunz-Druck, 1964. MT 145.H2G5. viii + 207 pages, 91 examples. Inaugural Dissertation. University of Bern, 1962. Technical, scholarly study of the expositions, with whole chapters on each part of the exposition (principal theme, bridge, contrasting theme, and closing theme). 1529. Pankaskie, Lewis V. “Tonal Organization in the Sonata Movements of Haydn’s String Quartets.” PhD dissertation. University of Michigan, 1956. UM 21344. DA xvii.6, p. 1352. 338 pages (DA = 341 pages). Analyzes the sonata-form movements of the string quartets without considering Haydn’s antecedents. 1530. Cuyler, Louise E. “Tonal Exploitation in the Later Quartets of Haydn,” in H.C. Robbins Landon, ed., Studies in Eighteenth-Century

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Music: A Tribute to Karl Geiringer on his Seventieth Birthday (London: Georg Allen and Unwin, 1970), 136–50. ML 55.G24S8. ISBN 0-04-780016X. Cuyler explains the keys of the movements of a quartet; most have 1 movement in the dominant, subdominant, or relative major, but 9 of Haydn’s do not. These 9 can be explained by Haydn’s advanced conceptions of modality. Haydn “explored … [tonal] resources that were not fully realized until a century after his death.” 1531. Haimo, Ethan. “Remote Keys and Multi-movement Unity: Haydn in the 1790s,” in The Musical Quarterly, lxxiv (1990), 242–68. Points out unconventional key relationships in Haydn’s instrumental music after 1790, including in many late piano trios and quartets. 1532. Edwards, George. “The Nonsense of an Ending: Closure in Haydn’s String Quartets,” in The Musical Quarterly, lxxv (1991), 227–54. Communist ideological thinking marginalized the music of Haydn because of its formalism, and many non-Communists (from Tovey to Schenker) have marginalized it for other reasons. Edwards attacks this marginalization, which is based on criteria for judging Mozart when Haydn should be judged on his own merits. 1533. Neubacher, Jürgen. Finis Coronat Opus: Untersuchungen zur Technik der Schlussgestaltung in der Instrumentalmusik Joseph Haydns, dargestellt am Beispiel der Streichquartette, mit einem Exkurs: Haydn und die rhetorische Tradition, in Mainzer Studien zur Musikwissenschaft, Band 22. Tutzing: Hans Schneider, 1986. ML410.H4N4.1986. ISBN 3-7952-0487-9. x + 278 pages. Investigates the structure of the endings of movements of Haydn’s string quartets. From Beethoven on, the endings of movements are the culmination of all the efforts of what precedes them but, in the second half of the 18th century, the endings are the finish of the form or structure. This is a brilliant, searching study that relates to all works of art and specifically to the study of rhetoric. See also 740 that considers the introductions to movements. 1534. Sondheimer, Robert. Haydn: A Historical and Psychological Study Based on his Quartets. London: Edition Bernoulli, 1951. ML 410. H4S7. viii + 196 pages, 118 examples. This is a nasty, emotional study basically disregarded by today’s Haydn experts but the center of much Haydn discussion at the time it appeared. It picks out Franz Beck who, it is proposed, reached the

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developmental level of Beethoven c.1760, way in advance of Haydn (a contention that cannot be verified). It refers to “musical dialectic,” an ability to produce well-written material without originality of thought, a characteristic of Haydn before Op. 20. Sondheimer comes up with specific theories about Haydn’s quartets that he then imposes on a study of them, and he has some rather unsubstantiated theories on the importance of Franz Beck to music in general and Haydn in particular. Since the book is dated and highly personal, it is to be avoided by laypersons and students until they have a good understanding of the history and significance of Haydn’s quartets from more reliable sources, including the scores themselves and especially the Haydn-Gesamtausgabe. At an advanced level, Sondheimer does challenge some accepted theories and suggests areas of comparison (Haydn with Boccherini, with the Mannheimers, with Mozart) that need further elucidation. For a discussion of whether the cello or string bass is to be used for the “basso” line in Haydn’s string quartets and other chamber music, see James Webster, “Violoncello and Double Bass in the Chamber Music of Haydn and his Viennese Contemporaries, 1750–80” 241 and “The Bass Part in Haydn’s Early String Quartets” 242. Specific quartets in chronological order The most important development in Haydn string quartet studies in the mid1960s was the elimination of unauthentic quartets from what until then was known as the authentic 83. 1535. Drabkin, William. A Reader’s Guide to Haydn’s Early String Quartets, in Reader’s Guides to Musical Genres, i. Westport (CT): Greenwood Press, 2000. ISBN 0-313-30173-5. MT145.H2D7.2000. x + 186 pages. A theoretical study of Haydn’s first 28 string quartets (the early 10, Opera 9, 17, and 20), with special emphasis on the 6 quartets of Op. 20. Drabkin considers form, technique, and texture; there is a whole chapter on the fugue in the string quartet before each of the Op. 20 quartets is analyzed. In addition to separate theoretical subjects, he tries to show how the different movements of a single work fit together. This is not a read-through book but, rather, it can be used by more advanced students as a starting point for further study of each of the quartets. 1536. Sutcliffe, W. Dean. “Los origenes del cuarteto de cuerda: Las primeras colecciones de cuartetos de Haydn,” in Quodlibet Revista de Especializacion Musical, xxxi (February 2005), 30–55.

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See also Finscher, “Joseph Haydn und das italienische Streichquartett” 190. 1537. Landon, H.C. Robbins. “On Haydn’s Quartets of Opera 1 and 2: Notes and Comments on Sondheimer’s Historical and Psychological Study,” in The Music Review, xiii (1952), 181–6. An important scholarly study authenticating the 10 early quartets and eliminating Op. 1 No. 5; Op. 2 Nos. 3 and 5; and all of Op. 3. See also 247, 1499, 1534, 1538–1540, and 1628. 1538. Somfai, László. “Zur Echtheitsfrage des Haydn’schen ‘Opus 3,’” in The Haydn Yearbook: das Haydn Jahrbuch, iii (1965), 153–65. One of several convincing essays disproving Haydn’s authorship of the 6 string quartets Op. 3, and also the 3 spurious quartets of Op. 1 in B-flat and Op. 2 in E-flat and D. Somfai points out the shallow grounds on which the earliest sources of Op. 3 stand vis-à-vis Haydn and then points to stylistic features of Op. 3 that are inconsistent with the other, authentic Haydn quartets. 1539. Feder, Georg. “Apokryphe ‘Haydn’ – Streichquartette,” in HaydnStudien, iii (1974), 125–50. Originally intended for inclusion in the critical notes to HaydnGesamtausgabe, xii. 1, this study first examines all the sources for Op. 3 and explains why Pleyel included them and others not by Haydn in his edition of Haydn: he relied on previous publications and not on direct contact with Haydn. Then Feder gives lists of quartets with many incipits and discusses almost 100 other spurious Haydn quartets. 1540. Brantley, Daniel Lawrence. “Disputed Authorship of Musical Works: a Quantitative Approach to the Attribution of the Quartets Published as Haydn’s Opus 3.” PhD dissertation. University of Iowa, 1977. UMI 77–21118. DAI xxxviii.4A, p. 1723. v + 92 pages. “A report on the techniques of the author’s research in authorship discrimination, using the [Haydn] Op. 3 question as a point of departure.” Brantley studies the basic works on the subject (Tyson, Landon, Somfai, Unverricht, Finscher, Barrett-Ayres, and others), compares similar problems in literature, brings in computer programs, and ends up with statistics that prove Op. 3 is by Hoffstetter. See also 1628. 1541. Moe, Orin, Jr. “Texture in Haydn’s Early Quartets,” in The Music Review, xxxv (1974), 4–22. An excerpt from “Texture in the String Quartets of Haydn to 1787,” PhD dissertation, University of California at Santa Barbara, 1970, RILM 70–507, UM 71–11482, DA xxxi.11A, p. 6100. 385 pages.

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Moe notes 3 basic tendencies in the apparent simplicity of the first 10 quartets, which will lead to important stylistic traits of the later quartets: rapid alternation of different textures in the fast movements, interruption of regular motion (mostly “changes between upbeat and downbeat rhythmic grouping”), and the gradual equalization of the 4 instruments. 1542. Webster, James. “Haydn’s op. 9: A Critique of the Ideology of the ‘Classical’ String Quartet,” in Essays in Honor of Laszlo Somfai on his 70th Birthday: Studies in the Sources and the Interpretation of Music, Laszlo Vikarius and Vera Lampert eds. (Lanham (MD): Scarecrow Press, 2005, ISBN 0810852977), 139–57. Traditionalists have 4 points upon which they judge the worth of chamber music: every part is to be necessary and independent, the combination of 4 strings is the perfect scoring, the mixing of bowed strings with other instruments is impure, and the performers are in conversation with each other. These points unnecessarily hamper the appreciation of works that do not fit the mold. Webster shows that the 6 Op. 9 quartets establish the quartet ideal in their own ways and demonstrate the genius of Haydn. Webster’s point about Op. 9 is not to belittle the achievements of the Opp. 17, 20 and 33 quartets. 1543. Fry, J. “Haydn’s String Quartets, Op. 20,” in The Musical Times, lxxxv (1944), 140–2. This article is designed as an introduction to these quartets for the amateur performer. Fry gives brief descriptions and comparisons with some of Haydn’s other quartets. 1544. Moe, Orin, Jr. “The Significance of Haydn’s Op. 33,” in Haydn Studies: Proceedings of the International Haydn Conference Washington, D.C., 1975, eds, Jens Peter Larsen, Howard Serwer, and James Webster (New York: W. W. Norton, 1981), 445–50. Differs from the view that Op. 33 are Haydn’s first mature classical string quartets. Instead, Moe proposes Op. 50, which blend the joking, light nature of Op. 33 with the intensity, equal-voice texture, and solistic display of Op. 20. It is this combination that is the mature classical style. 1545. Wheelock, Gretchen A. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer Books, 1992. ISBN 0-0287-2855-6. xiv + 269 pages. Chapter 5: “Engaging Wit in the Chamber: Op. 33 Revisited.” “Wheelock suggests that these works ‘represent a new conception of the genre as self-consciously addressed to an audience’ (page 91),

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and shows how listeners are pulled into the instrumental dialogue mediating exchanges that occasionally swerve toward the dysfunctional.” (NOTES, l [1994], 956.) 1546. Moeller, H. “Zeitkonflikte – multiple Zeiten. Ueberlegungen zum Streichquartett Op. 33 Infinite to Be Cannot be Infinite; Infinite Anti-be Could be Infinite von Horatiu Radulescu,” in New Sound, xi (1998), 43–55. Concerns Haydn’s Op. 33 quartets. 1547. Bonds, Mark Evan. “Haydn’s False Recapitulations and the Perception of Sonata Form in the Eighteenth Century.” PhD dissertation. Harvard University, 1988. DAI Vol. xlix (February 1989), 2011A. 430 pages. A study of Haydn’s concept of rhetoric and how it led to his conception of sonata form between c.1768 and 1774. 1548. Winkler, Gerhard J. “Opus 33/2: Zur Anatomie eines Schlusseffekts,” in Haydn-Studien, Vol. vi (1994), 288–97. 1549. London, Justin M. “Musical and Linguistic Speech Acts,” in The Journal of Aesthetics and Art Criticism, liv, No. 1 (Winter 1996), 49–54. Spanish translation “Actos de habla musicales y linguisticos.” Paul Silles, trl., in Quodlibet: Revista de Especializacion Musical, xxxiii (October 2005), 68–95. By analyzing Haydn’s string quartet Op. 33, No. 2 according to linguistic speech-act-theory, the joke at the end of the fourth movement makes sense. In omitting most real or imaginary parallels between linguistics and music and concentrating on the speech-act-theory, London reveals important relationships between music and language. 1550. Berger, Christian. “Die Lust an der Form, oder: Warum ist Haydns Streichquartett op. 33,5 ‘klassisch’?” in Rezeption als Innovation: Untersuchungen zu einem Grundmodell der europäischen Kompositionsgeschichte: Festschrift für Friedhelm Krummacher zum 65. Geburtstag, Bernd Sponheuer, Siegfried Oechsle and Helmut Well, eds., in Kieler Schriften zur Musikwissenschaft, Band 46 (Kassel: Bärenreiter, 2001), 121–34. What is “classic” in music is discussed particularly from the standpoint of significant writers from Kant to E. T. A. Hoffmann to 20th-century musicologists. After showing the unusual thematic, harmonic, and rhythmic structure of a movement of a Haydn quartet, Berger shows how writers defining “classic” skewed their definitions to justify what Beethoven and early Romantic composers were

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about, thereby misinterpreting Haydn and how his music should fit the term “classic.” 1551. London, Justin Marc. “Lerdahl and Jackendoff ’s Strong Reduction Hypothesis and the Limits of Analytical Description,” in In Theory Only, xiii (September 1997), 1–28. Discusses Haydn’s String Quartet Op. 50, No. 3 and Schubert’s Op. 99 Piano Trio. 1552. Baldassarre, Antonio. “Joseph Haydn’s Journey to Paris: The String Quartets Opp. 54 and 55,” in Musical Culture & Memory: The Eight [h] International Conference, Departments of Musicology and Ethnomusicology, Faculty of Music, University of Arts in Belgrade, Tatjana Markovic and Vesna Mikic, eds. (Belgrade: Fakultet Muzicke Umetnosti, 2008), 231–46. Baldassarre demonstrates how Haydn wrote his String Quartets Opp. 54 and 55 with the economics and sociology of Paris in mind. He considers the quartets in the context of his Paris symphonies as well as other instrumental works. 1553. Anson-Cartwright, Mark. “Haydn’s Hidden Homage to Mozart: Echoes of ‘Voi che sapete’ in Opus 64, No. 3,” in Intégral, xiv–xv (2000–1), 121–36. An attempt to show a relationship between the middle section of Mozart’s famous aria “Voi che sapete” from Le Nozze di Figaro and the development section in the first movement of Haydn’s String Quartet Op. 64, No. 3. There is circumstantial evidence in that Haydn first heard Figaro shortly before he finished the quartet and had a dream about the opera. Using Schenkerian analysis, however, AnsonCartwright shows certain tonal and harmonic similarities between these 2 passages that are not common elsewhere. Nonetheless, he is cautious about proving an influence in this case. 1554. Tepping, Susan. “Form in the Finale of Haydn’s String Quartet, Op. 64, No. 5,” in Indiana Theory Review, iv, No. 2 (1981), 51–68. A Schenkerian analysis of the last movment of the Lark Quartet, which is a ternary ABA movement at the surface level but binary at the background level. Tepping’s analysis is justified since the surface level is the time form and the background level is the harmonic or tonal form. 1555. Spitzer, Michael. “The Retransition as Sign: Listener-Orientated Approaches to Tonal Closure in Haydn’s Sonata-form Movements,” in Journal of the Royal Musical Association, cxxi (1996), 11–45. Considers Haydn’s Op. 64, No. 6.

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1556. Somfai, László. “A Bold Enharmonic Modulatory Model in Joseph Haydn’s String Quartets,” in H.C. Robbins Landon, ed. Studies in Eighteenth-Century Music: a Tribute to Karl Geiringer on his Seventieth Birthday (London: George Allen and Unwin, 1970), 370–81. ML 55.G24S8. ISBN 0-04-780016X. Haydn uses enharmonic spellings to make music easier to play but it makes analysis less clear. Somfai shows in a few movements of late quartets (Op. 71 – Op. 103) that Haydn anticipates Romanticism in his modulations. “Haydn’s innovation” is the stepwise transition to the enharmonic spelling, for example G-flat major to F major but not G-flat major to F# major. 1557. Bellman, Jonathan David. “Toward a Lexicon for the Style Hongrois,” in The Journal of Musicology, ix (1991), 214–37. Includes discussion of Haydn’s Op. 74, No. 3. 1558. Trimmer, Maud Alice. “Texture and Sonata Form in the Late String Chamber Music of Haydn and Mozart.” PhD dissertation. City University of New York, 1981. UMI 82–03335. DAI xlii.9A, p. 3805. 594 pages. This is a technical analysis of textural activity in the first movements (primarily expositions) of 27 string quartets and quintets by Haydn and Mozart. Trimmer notes the homogeneity of themes in the expositions and the contrast of 2 keys. She uses a system of score annotation that involves graphs and explains how the system evolved. 1559. Sisman, Elaine. “Rhetorical Truth in Haydn’s Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets,” in Haydn and the Performance of Rhetoric,Tom Beghin and Sander M. Goldberg, eds (Chicago/London: The University of Chicago Press, 2007. ISBN-13: 978-0226041292), 281–326. Haydn was well aware of theories of rhetoric and applied them to his chamber compositions. Thus, invention, realization, and stylization are the first 3 requirements of the orator and the composer; memory and performance (delivery) are the remaining requirements of the orator but involve the performer rather than the composer, though of course the composer and the performer influence each other and may be the same. The effect to be created in the listener, according to Aristotle, determines what the speech is and what the orator must be. Sisman shows how this can apply to the way in which Haydn conceived the Op. 76 quartets as a group: that is, as 6 interrelated pieces (they were originally published as 2 sets of 3, Op. 75 and Op. 76). See also Annette Richards 1570.

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1560. Kos, Koraljka. “Citati narodne glazbe u djelima beckih klasika,” in Arti musices Hrvatski Muzikoloski zbornik, xxxvi (2005), 181–96. Among other works, Kos deals with the second movement of Haydn’s String Quartet Op. 76 No. 3 and Beethoven’s String Quartet Op. 59 No. 1. 1561. Randall, J.K. “Haydn: String Quartet in D Major, Op. 76, No. 5,” in The Music Review, xxi (1960), 94–105. A Schenkerian analysis of the quartet. 1562. Löher, Burckhard. Strukturwissenschaftliche Darstellung der ersten und letzten Sätze der sechs Streichquartette Op. 76 von Joseph Haydn, in Veröffentlichungen zur theoretischen Musikwissenschaft, Band 5. Münster: reproduced typescript by University of Münster, distributed by Bärenreiter-Antiquariat, 1983. MT 145.H2L63.1983. 177 pages. Following the structural methods of Werner Korte and Ursula Götze, Löher gives an analysis of the 12 individual opening and closing movements of these 6 quartets. This is a highly theoretical interpretation, which strives for a working model for Op. 76. Each movement is diagramed according to the function of the morphemes (smallest substantial relationship factors or constructive elements). The dependence on statistics and mathematically produced generalities becomes the basic weakness of the system: the generalities are actually found in none or few movements, so that they tell us little or nothing about the individual quartet movement of Op. 76. 1563. Baker, James M. “Chromaticism, Form, and Expression in Haydn’s String Quartet Op. 76, No. 6,” in Journal of Music Theory, xlvii (Spring 2003), 41–101. A detailed, theoretical, sometimes Schenkerian study of the use of chromatically altered notes in the quartet by Haydn. Many of these notes are the result of secondary dominants and secondary tonal areas, yet Baker finds interesting relationships among them apart from their traditional use. At the end, he looks for similar chromaticisms in the late oratorios of Haydn and draws special parallels between Simon’s aria “Erblicke hier” from The Seaons and the quartet. See also Cleland’s dissertation 754. 1564. Drury, Jonathan Daniel. “Haydn’s Seven Last Words: An Historical and Critical Study.” PhD dissertation. University of Illinois, 1976. UM 76–16125. DAI xxxvii.1A, p. 23. 376 pages. In the course of discussing the various versions of this work, Drury considers the string quartet version and compares it to the orchestral and liturgical versions.

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1565. Feder, Georg. “Die Bearbeitung von Haydns Armida für Streichquartett,” in Festschrift Otto Biba zum 60. Geburtstag, Ingrid Fuchs, ed. (Tutzing: H. Schneider, 2006, ISBN 3795212146). Haydn’s other chamber music 1566. Brown, Alfred Peter. “The Solo and Ensemble Keyboard Sonatas of Joseph Haydn: a Study of Structure and Style.” PhD dissertation. Northwestern University, 1970. UMI 71–1805. DAI xxxi.8A, p. 4195. 3 vols. 442 pages. Brown first considers the sonatas historically and bibliographically, and then as a series of movements with specific forms (3-part sonata form, binary, theme and variations, “additive part” [rondo, ternary and freer], and minuet-trio). He also discusses the choice of a particular instrument for a given work. 1567. Brauner, Jürgen. Studien zu den Klaviertrios von Joseph Haydn, in Wurzburger musikhistorische Beiträge, xv. Tutzing: Hans Schneider, 1995. ISBN 3-7952-0808-4. ML410.H4B77.1995. xi + 492 pages. A detailed study of the entire repertory of Haydn piano trios. It includes an historical appraisal of the genre and of Haydn’s compositional technique; a review of how Haydn uses the instruments by themselves and in relation to the others; and the forms of the movements. The entire context of Haydn’s piano trios is considered in what is certainly the definitive work on the subject. 1568. Bell, A. Craig. “An Introduction to Haydn’s Piano Trios,” in The Music Review, xvi (1955), 191–7. Bell traces the neglect of Haydn’s trios during the 19th and first half of the 20th centuries and explains the origins of the trios: they are basically obligato piano sonatas with cello and violin accompaniment. While many of the questions raised are correct, not all the answers are. Bell lists 31 trios in Larsen’s chronological order and with both Larsen’s and Peter’s numbers. See also 1573 and Steinberg in 1499. 1569. Fillion, Michelle. “Intimate Expression for a Widening Public: The Keyboard Sonatas and Trios,” in The Cambridge Companion to Haydn, Caryl Clark, ed. (Cambridge/New York: Cambridge University Press, 2005, ISBN 0521833477). 1570. Richards, Annette. “Haydn’s London Trios and the Rhetoric of the Grotesque,” in Haydn and the Performance of Rhetoric, Tom Beghin and Sander M. Goldberg, eds, (Chicago/London: The University of Chicago Press, 2007, ISBN 139780226041292), 251–80.

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A discussion of the second movement of the Piano Trio Hob.XV:28 in E major and how it demonstrates Haydn’s involvement in the late18th-century theory of the grotesque. Both in Vienna and in London, Haydn knew proponents of the theory, especially in art; by the use of the outdated and eerie passacaglia, he was able to shake up his audience rather than soothe it, thus running counter to classical concepts of rhetoric. This article is in a collection of studies by various authors on the concept of rhetoric as understood by Haydn, and chamber music figures in a number of them. See also Elaine Sisman 1559. 1571. Sutcliffe, W. Dean. “Haydn’s Piano Trio Textures,” in Music Analysis, vi (1987), 319–32. 1572. Feder, Georg. “Haydn’s Piano Trios and Piano Sonatas,” trl. Howard Serwer, in Haydnfest: Music Festival: September 22–October 11, 1975: International Musicological Conference: October 4–11, 1975 (Washington, D.C.: Kennedy Center Program, 1975), 18–23. ML 410.H4H4.1975. A brief, accurate description of the piano trios (early ones with harpsichord)—some for flute or optional flute. Feder briefly describes sources, dedicatees, scoring, and forms. This is a general introduction for the layperson. 1573. Feder, Georg. “Haydns frühe Klaviertrios: eine Untersuchung zur Echtheit und Chronologie,” in Haydn-Studien, ii (1970), 289–316. Reviews Haydn’s early piano trios as published for the first time in 200 years in the Haydn-Gesamtausgabe. Previously, little was known about these trios and few were authenticated—only the 29 piano trios from 1784 on and 2 early ones. Simultaneously to this new edition by Feder, Landon published 45 piano trios 1574; Feder considers here the 14 trios that date before 1784 (Hob. xv.1–2, 33–41 + 3 others). He checks their authenticity, and their chronology. With great care, documentation and stylistic analyses, he proves that most of them are authentic, but he questions especially the 3 proposed by Landon. With the establishment of a specific Haydn contribution to the early piano trio c.1760, Haydn must now be brought into the history of the early piano trio along with Schobert, Anton Filtz, F.X. Richter, and others. 1574. Landon, H.C. Robbins. Die Klaviertrios von Joseph Haydn: Vorwort zur ersten kritischen Gesamtausgabe. Munich/Vienna: Doblinger, 1970. HML 3091.68.7. 28 pages. Foreword in German and English. Includes a chronological, thematic list of 45 Haydn piano trios.

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The trios fall into 3 groups: the early ones c.1755–c.1760, the middle ones 1780s–1790s, and the late ones all probably written in England. Landon discusses sources, instrumentation, titles, arpeggios, and so on. 1575. Steinberg, Lester. “Sonata Form in the Keyboard Trios of Joseph Haydn.” PhD dissertation. New York University, 1976. UM 77–16528. DA xxxviii.2A, pp. 541–2. 377 pages. Steinberg builds on Landon’s chronology of the keyboard trios 1574. He analyzes the basic elements of each and reduces them to arithmetic terms. The early trios still have Baroque rhythms. The middle trios have a much more developed sonata form, more expansive melodies and a larger harmonic vocabulary, which results in less activity than in the early trios. The late trios are more dynamic and orchestral, with virtuosic piano parts, more activity, and expanded harmony. See also 1499 and 403. 1576. Millican, Brady. “The London Piano Trios of Joseph Haydn: A Performer’s Survey of Neglected Masterpieces.” DMA dissertation. Boston University, 1992. DAI Vol. liii (September 1992), 659A. 326 pages. Historical and analytical study of Haydn’s London trios, with special emphasis on Trio, H. 29. 1577. Becker-Glauch, Irmgard. “Die Cellostimme in Haydns Klaviertrio Hob. XV:32,” in Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongres (Wien, Hofburg, 5.-12. September 1982), ed. Eva Badura-Skoda (Munich: G. Henle, 1986), 568–72. The cello part was apparently added later (by Haydn), and the more popular version of this piece is as a solo violin plus keyboard work. Becker-Glauch includes discussion by Larsen and Geiringer. 1578. Tyson, Alan. “Haydn and Two Stolen Trios,” in The Music Review, xxii (1961), 21–7. A thorough, scholarly study of the 2 piano trios Op. 40 Nos. 1 and 2 (Hoboken xv.3–4), which have been ascribed to either Joseph or Michael Haydn. Tyson shows conclusively that they are by Ignaz Pleyel, Joseph Haydn’s pupil. See 1579. 1579. Schwarting, Heino. “Über die Echtheit dreier Haydn-Trios,” in Archiv für Musikwissenschaft, xxii (1965), 169–182. Schwarting considers the trios in C, F, and G (Hob.xv.3–5) and “proves” on stylistic grounds alone that the first 2 are not by Haydn. See 1578.

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1580. Benton, Rita. “Resumé of the Haydn – Pleyel ‘Trio Controversy’ with some Added Contributions,” in Haydn-Studien, iv (1978), 114–17. Benton supplies further evidence that Pleyel, not Haydn, composed the first 2 trios (or sonatas) Hob.xv. 3–4. Among other things, she shows the striking relationship of the second trio to a symphony by Pleyel (Ben. 136), also surviving under a Haydn attribution (Hob.i. F14). 1581. Fillion, Michelle. “Eine bisher unbekannte Quelle für Haydns frühes Klaviertrio Hob.xv.C1,” in Haydn-Studien, v (1982), 59–63. A discussion of a manuscript copy of the Haydn trio attributed to Wagenseil. Primarily on stylistic grounds, Fillion shows that Haydn still is the probable composer. 1582. Landon, H.C. Robbins. “Joseph Haydn: A Sketch to Piano Trio No. 30 (Hob.xv:17),” in The Haydn Yearbook, xiii (1982), 220–7. A brief but important scholarly discussion of the only extant sketch of a Haydn trio between 1786 and 1794, “a period particularly rich in this form.” Landon compares the sketch to the equivalent measures of the modern edition. He discusses the data known about the composition of the trio (1790) and its early publication. 1583. Brook, Barry S. “Haydn’s String Trios: A Misunderstood Genre,” in Current Musicology, No. 36 (1983), 61–77. The string trio refers to works usually for 2 violins + cello, occasionally violin + viola + cello or rarely 2 violins + viola. Originally it was called divertimento a tre, sonate a tre, or terzetto. Very popular in the second half of the 18th century—even more so than the string quartet—over 2,000 string trios were written by over 200 composers. Brook presents some of the problems in distinguishing authentic from inauthentic Haydn trios. He believes Haydn’s trios are early works (1755–65)— the earliest string quartets seem to predate them, based on the harmonic and stylistic achievements of the trios. 1584. Fillion, Michelle. “Scoring and Genre in Haydn’s Divertimenti Hob. XIV,” in Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress (Wien, Hofburg, 5.-12. September 1982), ed. Eva Badura-Skoda (Munich: G. Henle, 1986), 435–44. First, Fillion distinguishes between Haydn’s 4 early concertini (3movement works: fast-slow-fast—similar to the concerto) and the 7 early divertimenti (minuets replace the slow movement); the former are more complicated pieces. Then she compares these concerti and divertimenti to 10 others by other composers in Vienna at the time. She distinguishes among the solo pieces for keyboard, quartet divertimenti

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for harpsichord + 2 violins + bass, and keyboard concertos. The quartet pieces are closer stylistically to the concerti, but Fillion believes the divertimenti remained chamber works with single performers for each part. 1585. Strunk, W. Oliver. “Haydn’s Divertimenti for Baryton, Viola, and Bass (after Manuscripts in the Library of Congress),” in The Musical Quarterly, xviii (1932), 216–51. An important pioneering study, including a history of the baryton and an analysis of baryton technique, the term “divertimento,” the forms and styles of the trios, and the historical development of Haydn’s style. It includes 2 detailed photos of a baryton built in 1779, a list of the 125 trios, and extensive sources in manuscripts, old editions, and modern prints. 1586. Csuka, Béla. “Haydn és a Baryton,” in Bence Szabolcsi and Dénes Bartha, eds, Kodály Zoltán 75. Születésnapjára, in Zenetudományi Tanulmányok, vi (Budapest: Akadémiai Kiado, 1957), 669–728. ML 55. S995. German summary “Haydn und das Baryton,” on pages. 761–62. A study of the instrument baryton and the chief performers on it (Karl Franz, Anton Kraft, Josef Weigl, and Prince Nicolas Esterhazy) in the second half of the18th century. It was an Austro-Hungarian phenomenon, unknown in Italy. Csuka includes a thematic catalogue of Haydn’s baryton pieces with incipits, list of movements, meters, manuscript location, and publication information. This article was replaced by A. von Hoboken in his Verzeichnis (Mainz: 1957). It includes photos of surviving barytons and facsimiles of 2 complete baryton pieces. 1587. Sisman, Elaine R. “Haydn’s Baryton Pieces and his Serious Genres,” in Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress (Wien, Hofburg, 5.–12. September 1982), ed. Eva BaduraSkoda (Munich: G. Henle, 1986), 426–35. Shows the evolution of the baryton pieces in form, technique, texture, and melodic development from the earliest ones to the latest ones. 1588. Unverricht, Hubert. “Zur Chronologie der Barytontrios von Joseph Haydn,” in Friedrich Wilhelm Riedel and Hubert Unverricht, eds, Symbolae Historiae Musicae: Hellmut Federhofer zum 60. Geburtstag (Mainz: B. Schott’s Söhne, 1971), 180–9. ML 55.F32.1972. Scholarly study of receipts and other documents leading to the conclusion that Haydn’s 126 or 127 baryton trios were composed between 1765 and 1774, the first 100 between 1765–1771.

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1589. Wollenberg, Susan. “Haydn’s Baryton Trios and the ‘Gradus,’” in Music and Letters, liv (1973), 170–8. A study of the fugue finales of some of Haydn’s baryton trios and their relation to Fux’s Gradus ad Parnassum. Wollenberg finds that Haydn drew heavily from Fux. 1590. Gerlach, Sonja. “Neues zu Haydns Baryton-Oktett Nr. 5 (Hob.x:1),” in Haydn-Studien, v (1983), 125–34. The manuscript of the octet was recently rediscovered in the manuscript collection formerly in Berlin, now in Cracow; it is the complete piece, as opposed to a reconstruction that appears in the Haydn-Gesamtausgabe. Gerlach gives a detailed description and comparison with the published version. 1591. Unverricht, Hubert. “Joseph Haydns Kompositionen für Harmoniemusik,” in Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress (Wien, Hofburg, 5.–12. September 1982), ed. Eva Badura-Skoda (Munich: G. Henle, 1986), 457–65. Unverricht considers Haydn’s divertimenti for 2 oboes (sometimes 2 clarinets) + 2 bassoons + 2 horns that belong to the genre of Harmoniemusik. He discusses contemporary opinions about this music that Haydn continued to write throughout his career. 1592. Smith, Carleton Sprague. “Haydn’s Chamber Music and the Flute,” in The Musical Quarterly, xix (1933), 341–350 and 434–55. Smith asks the question, “Why did Haydn write for the flute?” and only considers his chamber music. The asnwer he gives is that the English solicited flute works from him. 1593. Kubitschek, Ernst. “Die Flötentrios Hob. IV: 6–11,” in Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress (Wien, Hofburg, 5.–12. September 1982), ed. Eva Badura-Skoda (Munich: G. Henle, 1986), 419–26. Kubitschek points out how Haydn rearranged half of the movements of these 3 divertimenti from earlier pieces of his and how these 6 divertimenti (for flute, violin, and cello) form a cycle. In a similar article in Thom, ed., Zur Entwicklung der Kammermusik in der zweiten Hälftes des 18. Jahrhunderts, Konferenzbericht der XIII. Wissenschaftlichen Arbeitstagung, Blankenburg/Harz, 21. Juni bis 23. Juni 1985 (Michaelstein/Blankenburg: Kultur- und Forschungsstätte Michaelstein, 1986), Kubitschek considers the different contemporary editions of these trio divertimenti.

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[Johann] Michael Haydn 1736–1806 1594. Zehetmair, Helmut. “Johann Michael Haydns Kammermusikwerke a Quattro und a Cinque.” PhD dissertation. University of Innsbruck, 1964. 1595. Hess, Reimund. “Serenade, Cassation, Notturno und Divertimento bei Michael Haydn.” PhD dissertation. Johannes Gutenberg University of Mainz, 1963. ML 410.H44H4. 2 vols. I: 215 pages; II: 99 pages of 206 examples. Hess studies an important genre of instrumental music by M. Haydn, compares it to similar works of Mozart and other contemporaries, and traces its evolution. Among the 33 works, mostly divertimenti, for various combinations of strings, winds, timpani, and bass, are some quartets and quintets. Hess lists the works and their movements, but finds no really valid generalizations about them. The serenades are orchestral, the divertimenti chamber, the others either orchestral or chamber, and this is a Salzburg phenomenon applicable to both Mozarts as well. M. Haydn is a Rococo composer who never moved on to the mature classicism of his brother; Joseph separated his art music (Classical) from his social music (Rococo). Bernhard Heiden 1910–2000 1596. Langosch, Marlene Joan. “The Instrumental Chamber Music of Bernhard Heiden.” PhD dissertation. Indiana University, 1974. UM 74–9431. DA xxxiv.10A, p. 6688. 303 pages. Langosch examines structures, procedures and the various other parameters in the 45 pieces of chamber music by Heiden, an American of German birth and a pupil of Hindemith. He is a conservative composer. For an analysis of his sonata for saxophone + piano, see Robert Sibbing’s dissertation 1312. Hans Werner Henze b.1926 1597. Nestler, Gerhard. “Das Bläserquintett von Hans Werner Henze,” in Melos, xxvii (1960), 141–2. A brief but careful analysis of Henze’s woodwind quintet (1952), a 12-tone dance. The row is presented first in the clarinet in the first 4 measures, and then it is basically ignored in this analysis.

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Jennifer Higdon b.1962 1598. Aquilina, Florence. “Composers’ Corner: An Interview with Jennifer Higdon.” IAWM Journal, vi, Nos. 1–2 (2000), 1–4. A brief biography of the Philadelphia composer Jennifer Higdon, a description of her 3-movement string quartet Voices, and a list of works, premieres, and performances. Paul Hindemith 1895–1963 1599. Wolff, Helmuth Christian. “Die Kammermusik Paul Hindemiths,” in Hindemith Jahrbuch, iii (1974), 80–92. The same article appears in 675, pages 435–46 Wolff considers “varying estimations” of Hindemith’s chamber music 1921–1963, his resurrection of strict polyphony, his novel rhythm and melody, his vocal style, his idiomatic instrumental writing, and the special demonstration in the Octet of 1957 of many 20th-century devices. 1600. Mason, Colin. “Some Aspects of Hindemith’s Chamber Music,” in Music and Letters, xli (1960), 150–5. Mason praises Hindemith as one of a few modern composers who writes true chamber music, that is, music for the amateur or professional to be played at home. Yet he criticizes him for using traditional string sounds too routinely: Hindemith has not exploited the color characteristics of all instruments in his chamber music; on the other hand, he exploits formal potentialities. See Landau’s “The Harmonic Theories of Paul Hindemith in Relation to his Practice as a Composer of Chamber Music” 750. 1601. Strobel, Heinrich. “Neue Kammermusik von Paul Hindemith,” in Melos, iv (1925), 541–8. An important early review of Hindemith’s linear polyphonic writing in the third and fourth string quartets and Op. 34 String Trio. Strobel compares the fugues in Op. 34 and the Fourth String Quartet. 1602. Rhodes, Samuel. “String Art: die Streichquartette Paul Hindemiths,” in Neue Zeitschrift für Musik No. 5 (September–October 1995), 12–15. 1603. Adorno, Theodor [Wiesengrund]. “Kammermusik von Paul Hindemith,” in Die Musik, xix.1 (1926), 24–8. Adorno notes the dialectic between Hindemith’s choice of traditional, objective, a priori forms and his vital, subjective, artistic self.

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He traces this dialectic in quartets Op. 22 to Op. 32 to the Op. 34 String Trio to non-chamber pieces Op. 35 and Op. 36. Hindemith’s use of classical form does not make these pieces classical. He needs forms, and these are good ones; but his vitality extends beyond the limits of these particular forms. 1604. Gratzer, Wolfgang. “Der ‘heftige Anarchist’ zu Hindemiths Kammermusik op. 36 Nr. 4,” in Der frühe Hindemith – Hindemiths Spätstil (Frankfurt/Main: 1990), 50–3. 1605. Hymanson, William. “Hindemith’s Variations: a Comparison of Early and Recent Works,” in The Music Review, xiii (1952), 20–33. A study of Hindemith’s concept of theme and variation. The early works include String Quartet Op. 10, movement 2 (1919), Sonata for Viola + Piano, Op. 11 No. 4 (1922), and String Quartet No. 4, Op. 32, last movement (1924). The late works include String Quartet in E-flat, movement 3 (1944), Symphonic Metamorphoses, movement 2 (1945), and The Four Temperaments for piano + strings (1946). In the early works, Hindemith uses the theme as “a springboard for fanciful transformations often related to the original only through remote similarities.” The late works operate on the old cantus firmus and ostinato ideas. On Hindemith’s ambiguous understanding of the term chamber music, see Helmut Haack in 675, pages 231–7. 1606. Espey, Sister Jule Adele. “Formal, Tonal, and Thematic Structure of the Hindemith String Quartets.” PhD dissertation. Indiana University, 1973. RILM 73–43. UM 74–9422. DA xxxiv.10A, pp. 6683–4. 193 pages. Analyzes form, tonality, and thematic structure in the 6 quartets, without reference to Hindemith’s theories. Espey also reviews other writings on the quartets. 1607. Pütz, Werner. Studien zum Streichquartettschaffen bei Hindemith, Bartók, Schönberg und Webern, in Kölner Beiträge zur Musikforschung, Band 36. Regensburg: Gustave Bosse, 1968. MT 140.P84. iv + 217 pages. Despite some dated information, Pütz presents a thorough and carefully worked out scholarly and theoretic discussion of the formal unity and color of these quartets and their outgrowth from earlier quartets. The rejuvenation of string quartet writing in the first half of the 20th century resulted in the highest number of quartets being composed since the 18th century. Pütz discusses the development of motivic unity in the quartet from Haydn’s immediate predecessors to Reger. He leans on Sandberger’s thoughts here and also stresses the division of parts

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of a theme among the different instruments. After Beethoven, nothing new is added to these basic concepts of organic unity, but Schubert added refined chromaticism and technical devices like tremolos; Brahms added orchestral elements, Reger added intensive, chromatic polyphony, and Debussy emphasized color as a main element. 1608. Doflein, Erich. “Die sechs Streichquartette von Paul Hindemith,” in Schweizerische Musikzeitung, xcv (1955), 413–21. A good, non-technical analysis of all 6 quartets with more attention to Nos. 5 and 6. Doflein gives a brief mention of style, forms, and themes. He has a much greater concern for Hindemith’s relationship to other composers and to tradition. 1609. Kostka, Stefan Matthew. “The Hindemith String Quartets: A ComputerAssisted Study of Selected Aspects of Style.” PhD dissertation. University of Wisconsin, 1969. UMI 70–3590. DAI xxxi.2A, p. 786. 349 pages. After Kostka has reviewed earlier computer projects in music, he codes the string quartets Nos. 2, 3, 5, and 6 with keypunching according to a specific, defined system and presents 7 primary FORTRAN programs for analysis. He then studies chords and root movements. 1610. Beroukhim, Cyrus. “Hindemith’s String Quartets and The Craft of Musical Composition.” DMA dissertation. The Juilliard School, 2007. iii + 114 leaves. 1611. Winkler, Heinz-Jurgen. “Tradition Verpflichtet: Entwicklungstendenzen in Hindemiths Quartetten,” in Hindemith Forum, xii (2005), 8–12. In German, French, and English. A brief discussion of the development of Hindemith’s 7 string quartets and their numbering. Five of the quartets were written while he was not professionally playing quartets. Winkler provides an important summary of the origins of the pieces. 1612. Kube, Michael. Hindemiths frühe Streichquartette (1915–1923): Studien zu Form, Faktur und Harmonik, in Kieler Schriften zur Musikwissenschaft, Vol. 45. Kassel/New York: Bärenreiter, 1997. ISBN 3-7618-1348-1. ML5.K52.Bd.45.1997. vii + 331 pages. Originally PhD dissertation. Christian-Albrechts University in Kiel, 1996. Kube gives a lengthy, detailed, intense analysis of Hindemith’s String Quartets opp. 2, 10, 16, 22 and 32, with a commentary on their history (including performances by the Amar Quartet) and a comparison with other compositions by Hindemith and with other quartets by his contemporaries.

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1613. Kube, Michael. “Zum Stilwandel in Paul Hindemiths frühen Streichquartetten,” in Hindemith-Jahrbuch, xxv (1996), 56–83. A brief synopsis of what is in the dissertation. In his early chamber music, Hindemith develops a linear style with clear overall form from what was at first a violin-dominated style with strong leanings on Brahms and early Schoenberg. 1614. Cadenbach, Rainer. “‘Streichquartette eines Bratschers, Musikantenmusik … ’: zur Rolle der Bratsche in Hindemiths Kammermusik für Streicher,” in Hindemith-Jahrbuch, xxv (1996), 84–141. A major study of the impact that Hindemith’s playing the viola had on his compositions using the viola, especially the 3 string quartets (Opp. 16, 22, and 32) and 2 string trios (Op. 34) written between 1920 and 1933, while he was a member of the Amar String Quartet. Cadenbach also considers the distinction between a performer playing another composer’s finished composition and the composer performing and thereby continuously composing his own work. 1615. Dorfman, Joseph. “Hindemith’s Fourth Quartet,” in HindemithJahrbuch, vii (1978), 54–71. A detailed analysis of each of the movements. The first, a triple fugue, is full of stretti, episodes, and other typical devices but is also a duality of 2 opposing musical images. The greatest attention is given to the structure of the fourth movement—a passacaglia. Dorfman’s emphasis is on the contrapuntal and cyclic nature not only of this quartet but of other Hindemith chamber music as well. For more on the String Quartet Op. 32, see Rudolf Stephan’s article in 217. 1616. Kolneder, Walter. “Hindemiths Streichquartett V. in Es,” in Schweizerische Musikzeitung, xl (1950), 92–6. A detailed analysis of the sixth quartet (1943), written 19 years after the fifth and, thus, reflecting a later development in Hindemith’s style. It has 7 themes, which finally come together, often in counterpoint, in the fourth (last) movement. Kolneder shows how Hindemith altered his themes—metamorphosed them (at the same time as his Symphonic Metamorphoses). See also 872. 1617. Hambourg, Klement. “Three Sonatas for Violin and Piano by Paul Hindemith: A Stylistic and Interpretive Study.” DMA dissertation. University of Oregon, 1977. DAI xxxviii.10A, pp. 5786–7. 270 pages.

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The 3 works (E-flat, 1918; E, 1935; and C, 1939) share certain features, such as Gebrauchsmusik, neo-classicism, expanded tonality, melody, rhythm, and texture. The 1918 sonata is stylistically ambivalent: it demonstrates various influences of Brahms, Strauss, Reger, and Debussy. The other 2, however, are clearly tonal and have a semi-tonal connection between movements and sections; they are rhythmically fluent and free. 1618. Payne, Dorothy Katherine. “The Accompanied Wind Sonatas of Hindemith: Studies in Tonal Counterpoint.” PhD dissertation. University of Rochester, Eastman School of Music, 1974. UM 74–21530. DA xxxv.4A, p. 2325. 227 pages. A non-technical analysis of form, counterpoint and tonality in each of the 10 sonatas Hindemith wrote 1936–1955 for solo wind instruments + piano. 1619. Kidd, James C. “Aspects of Mensuration in Hindemith’s Clarinet Sonata,” in The Music Review, xxxviii (1977), 211–22. Kidd investigates the rhythm of mm.12–25 of the second movement of this sonata and its similarity to late-14th-century mensuration whereby 6/8 and 3/4 often occur simultaneously. This similarity must be understood by performers so that bar-lines are ignored in favor of the overall rhythmic-melodic patterns. For an analysis of the sonata for saxophone + piano, see Robert Sibbing’s dissertation 1312. 1620. Ohlsson, Jean Mary. “Paul Hindemith’s Music for Flute: Analyses of Solo Works and Stylistic and Formal Considerations of Chamber Works.” DMA dissertation. Ohio State University, 1975. UMI 76–3361. DAI xxxvii.1A, pp. 27–8. 98 pages. Ohlsson analyzes the role of the flute per se and in ensemble in 4 works: Acht Stücke für Flöte allein, Sonata for Flute + Piano, Echo for Flute + Piano, and Kanonische Sonatine für zwei Flöte. She considers the nature of stylistic and formal problems and solutions and ponders their relationship to Hindemith’s expressed ideas on them in The Craft of Musical Composition. 1621. Townsend, George David. “Stylistic and Performance Analysis of the Clarinet Music of Paul Hindemith.” EdD dissertation. University of Illinois, 1967. UMI 68–1873. 250 pages. Townsend analyzes 5 works (4 are chamber pieces) involving the clarinet: Quintet (1923), Quartet (1938), Sonata (1939), Concerto (1947), and Octet (1957–8). He includes historical data on the pieces and analyzes form, melody, rhythm, texture, harmony, and performance

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problems of range, registration, articulation, dynamics, fingerings, and ensemble. 1622. Koper, Robert Peter. “A Stylistic and Performance Analysis of the Bassoon Music of Paul Hindemith.” EdD dissertation. University of Illinois, 1972. UM 72–19863. DA xxxiii.1A, p. 349. 364 pages. Of 4 compositions analyzed, 1 is the sonata for bassoon + piano (1938) and 1 is the woodwind quintet from Kleine Kammermusik (1922). Koper elaborates 3 points: Hindemith’s scoring for the bassoon (he was against coloristic effects per se), technical problems (he writes simply), and implications for teaching (excellent for teaching at the college level). 1623. Willis, James D. “A Study of Paul Hindemith’s Use of the Trombone as Seen in Selected Chamber Compositions.” DMA dissertation. University of Missouri–Kansas City, 1973. UM 73–25951. DA xxxiv.5A, p. 2689. 139 pages. Willis analyzes tessitura, dynamics, and melodic patterns in 10 chamber works by Hindemith calling for trombone. He considers articulation, the trombone as solo or as bass line, special techniques, and scoring. 1624. Wörner, Karl H. “Hindemiths neueste Oktett,” in Melos, xxv (1958), 356–9. Briefly places the piece in historical context, and analyzes in detail the 5 movements: themes, techniques, and style. It is scored for violin + 2 violas + cello + bass + clarinet + bassoon + horn. John Hingeston c.1610–83 1625. Bock, Emil William. “The String Fantasies of John Hingeston (ca.1610– 1683).” PhD dissertation. University of Iowa, 1956. UM 56–1528. DA xiv.5, p. 969. 2 vols. I: xi + 251 pages; II: ii + 287 pages. Shows the importance of Hingeston’s 77 string fantasies to both Commonwealth and Restoration England. His later fantasias use violins rather than viols, and a continuo rather than a written-out organ that doubled the strings. Bock includes a biography, a bibliography, and a stylistic analysis of the music. Volume II has 24 fantasias in transcription. Ernst Theodor Amadeus Hoffmann 1776–1822 For a catalogue of Hoffmann’s chamber music, see Gerhard Allroggen, E.T.A. Hoffmanns Kompositionen: ein chronologisch-thematisches Verzeichnis seiner musikalischen Werke mit einer Einführung, in Studien zur Musikgeschichte

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des 19. Jahrhunderts, Band 16 (Regensburg: Gustav Bosse, 1970), 37–38 and 77–78. ML 134.H575A4. 1626. Georgieff, Katherine Pejkarjanz. “The Instrumental and Vocal Works of Ernst Theodor Amadeus Hoffmann.” PhD dissertation. Washington University, 1973. UMI 73–24882. DAI xxxiv.5A, p. 2679. 260 pages. Discusses songs and instrumental works. Georgieff points out that Hoffmann was more a Classical than a Romantic composer and that none of his musical works can measure up to the greatness of his literature. She gives a list of all extant and lost instrumental works. 1627. Markx, Francien. “Ahnungen einer anderen Welt: zu E. T. A. Hoffmanns Ideal des ‘romantischen’ Kunstwerks,” in Muziek en Wetenschap, Vol. v (1995), 23–62. Discusses Hoffmann’s Piano Trio in E-major. Roman Hoffstetter 1742–1815 1628. Unverricht, Hubert (with the assistance of Adam Gottron and Alan Tyson). Die beiden Hoffstetter: Zwei Komponisten – Porträts mit Werkverzeichnissen, in Beiträge zur mittelrheinischen Musikgeschichte, Band 10. Mainz: B. Schott’s Söhne, 1968. ML 390.U65. 80 pages. A brief but intense study of the lives of Roman Hoffstetter and his twin brother, Johann Urban Alois Hoffstetter (1742–after 1808), both composers. Of special importance are Roman’s 6 string quartets, Op. 26, published by Bailleux in Paris in 1777, which Ignaz Pleyel republished in 1800–1802 as Haydn’s Op. 3. Unverricht gives authentic documents for the biographies of the brothers and lists in detail with themes all their known works. Roman wrote, in all, 20 quartets composed between c.1765 and c.1780; he also composed viola concertos and vocal works. His brother wrote symphonies and songs. See Philip Olleson’s The Rise of the String Quartet 247 for a facsimile of the title of the “Opus 3” quartets showing Hoffstetter’s name. See also 1499. Heinz Holliger b.1939 1629. Drees, Stefan. “Abgesang auf eine Gattung: Heinz Holligers Streichquartett (1973).” Neue Zeitschrift für Musik: das Magazin für neue Töne, cxvii, No. 2 (March–April 2006), 26–8. A description of Holliger’s thirty-minute string quartet that falls into an introduction and 8 large sections, of which the last serves as a coda. Drees reproduces 1 page of the manuscript that shows the radical

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treatment of the instrumental sounds and the unusual demands made upon the musicians. See also 278. Imogen Holst 1907–84 1630. Tinker, C. “Imogen Holst’s Music, 1962–84,” in Tempo, No. 166 (September 1988), 22–7. Deals with Holst’s String Quintet and Duo for Viola and Piano, among other works. Leontzi Honauer 1737–c.1790 1631. Keillor, Frances Elaine. “Leontzi Honauer (1737-ca.1790) and the Development of Solo and Ensemble Keyboard Music.” PhD dissertation. University of Toronto, 1976. DAI xxxix.3A, p. 1181. This is a biographical and analytical study of the Frenchman and his compositions, including accompanied sonatas, suites for keyboard and winds, and keyboard quartets, which were known to Mozart. Arthur Honegger 1892–1955 For a catalogue of Honegger’s chamber music, see [Walter Labhart], Arthur Honegger: Liste des Oeuvres: Werkverzeichnis (Zurich: Archives Musicales Suisses, 1975), 11–12. ML 134.H77S4. 1632. Waters, Keith. “Architectural and Pitch Organization in Arthur Honegger’s Works for String Quartet,” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 259–78. An analysis of the architecture and pitch organization in Honegger’s 3 string quartets (1917, 1936, and 1937) and Trois Fragments extraits de ‘Les Pâques à New York’ de Blaise Cendrars (1920) for string quartet and mezzo soprano. Margaret Hubicki 1915–2006 1633. Scott-Sutherland, C. “Sounds Around: Dedication in Time – Chamber Music by Margaret Hubicki.” British Music Society News, No. 108 (December 2005), 403.

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Nicolas Joseph Hüllmandel 1756–1823 1634. Benton, Rita. “Nicolas Joseph Hüllmandel and French Instrumental Music in the Second Half of the 18th Century.” PhD dissertation. State University of Iowa, 1961. UM 61–4019. 384 pages. Benton gives a biography and outlines the social milieux of Hüllmandel, along with a discussion of his compositions, most of which are sonatas for keyboard with violin. She considers the problem of the harpsichord–continuo replaced by the piano. Excerpts appeared in “Nicolas-Joseph Hüllmandel (1756–1823): Quelques Aspects de sa Vie et de son Oeuvre,” in Revue de Musicologie, xlvii (December 1961), 177–94. See also the article by Saint-Foix 1375. Johann Nepomuk Hummel 1778–1837 1635. Zimmerschied, Dieter. Die Kammermusik Johann Nepomuk Hummels. Mainz: typescript reproduction with errors and corrections, 1966. MT 145.H84Z5. 554 pages. Inaugural dissertation. University of Mainz, 1967. This is a scholarly study of Hummel’s 2 string trios, 3 string quartets, clarinet quintet, 7 violin + piano sonatas (3 = also flute + piano sonatas, 1 = also mandoline + piano sonata), cello + piano sonata, viola + piano sonata, 8 piano trios, piano quartet, piano quintet, and 2 septets. Zimmerschied gives a movement by movement description and analysis with somewhat subjective characterizations of principal themes and forms. The historical background and comparisons are the more important parts of the study. 1636. Winkler, Gerhard. “Konversation und Kontrapunkt : Johann Nepoumuk Hummels Streichquartett op. 30,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, Band 12 (Vienna: Doblinger, 2006, ISBN: 3900695814), 151–67. Hummel was Haydn’s successor in Eisenstadt as the musical director of the Esterhazy family from 1804 to 1811, and as such his only string quartets—the 3 of Op. 30 (1804)—are considered in relation to Haydn’s, both from the standpoint of structure and that of their social place. Hummel’s quotations from Handel and especially from

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J. S. Bach are studied within the context of Why Bach? Hummel’s quartets are dedicated to Prince Lobkowitz, which inevitably brings in their comparison with Beethoven’s Op. 18. J.S. ( = ?John) Humphries c.1707-before c.1740 1637. Thomas, Alan Rowland. “The Trio Sonatas of J.S. Humphries.” DMA dissertation. University of Illinois, 1966. UMI 66–7819. DAI xxvii.3A, p. 793. 270 pages. Thomas gives a biography of Humphries and some background material for an edition of the trio sonatas. Karel Husa b.1921 1638. Hitchens, Susan Hayes. Karel Husa: A Bio-bibliography, in BioBibliographies in Music, No. 31. New York: Greenwood Press, 1991. ISBN 0-3132-5585-7. ML134.H93H57.1991. x + 166 pages. Hitchens includes a complete list of Husa’s chamber compositions on pages 20–4 and a bibliography containing reviews of those pieces scattered about pages 45–144 (such as pages 70–5, 100–1, 103, 105–7, etc.). Jacques Ibert 1890–1962 1639. Timlin, Francis Eugene. “An Analytic Study of the Flute Works of Jacques Ibert.” DMA dissertation. University of Washington, 1980. 141 pages. Sound tape. DAI xl.5A, p. 1832. An analysis of 11 works with flute, most of which are chamber pieces. Toshi Ichiyanagi b.1933 1640. Kiser, Molly. “Toshi Ichiyanagi: His Life and Works.” DMA dissertation. Juilliard School, 2003. Deals with Ichiyanagi’s string quartet (1957) and his use of the 12-tone method, 1957. Andrew Imbrie b.1921 1641. Boykan, Martin. “Andrew Imbrie: Third Quartet,” in Perspectives of New Music, iii, No. 1 (1964), 139–46.

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Boykan analyzes the quartet, which is in fairly traditional forms: movement 1 paraphrases sonata form, movement 2 is a scherzo and trio, and movement 3 is a lied. Only the first movement is serial, though it “continues to exert an influence” in the second movement. The overall melodic sounds are wholetone. In this quartet, Boykan finds “an Italian elegance which is unusual in American music,” and contrasts Imbrie’s simpler and clearer music—his personal tone— with Sessions’s more complicated music. Charles Edward Ives 1874–1954 For a catalogue of Ives’s chamber music, see Dominique-René De Lerma, Charles Edward Ives, 1874–1954: A Bibliography of his Music (Kent [Ohio]: Kent State University Press, 1970). Pages 166– provide a systematic index. ML 134.I9D4. ISBN 0-87338-057-6. 1642. Bader, Yvette. “The Chamber Music of Charles Edward Ives,” in The Music Review, xxxiii (1972), 292–9. Bader surveys the problems of identifying what is truly chamber music in Ives’s output and considers briefly the rubrics and “folk” tunes that Ives put into some of his chamber pieces. She also points out the unique contributions of Ives. 1643. Hitchcock, H. Wiley. “The Chamber Music,” in Ives: A Survey of the Music, in I.S.A.M. Monographs, No. 19 (New York: Institute for Studies in American Music, at Brooklyn College of the City University of New York, [1983]). Reprint with corrections in Oxford Studies of Composers, No. 14 (London: Oxford University Press, 1977), 57–72. An excellent introduction to Ives’s chamber music for the student and professional, with emphasis on the 4 violin + piano sonatas and 2 string quartets. Hitchcock is concerned with style, Ives’s manifold characteristics, the borrowed American tunes, and the effect and purpose of the pieces. He points out the unity of the 4 sonatas and the personal argumentation of the second string quartet (an expansion of the conversation idea). The monograph is not technical but it does require musical sophistication. 1644. Quackenbush, Margaret Diane. “Form and Texture in the Works for Mixed Chamber Ensemble by Charles Ives.” MA thesis. University of Oregon, 1976. RILM 76–3179. 125 pages. Analyzes 19 pieces of Ives that are programatic. 1645. Maske, Ulrich. Charles Ives in seiner Kammermusik für drei bis sechs Instrumente, in Kölner Beiträge zur Musikforschung, Band 64.

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Regensburg: Gustav Bosse, 1971. ML 410.I94M4. ISBN 3-7649-2068-8. xi + 164 pages, 71 examples. PhD dissertation. University of Köln, 1971. RILM 73–3829. An exhaustive, scholarly study of melody, harmony, meter, beat, rhythm, dynamics, form, and programs in some of Ives’s chamber music. Maske gives the basic problems in dealing with Ives’s chaotic manuscripts and accepts John Kirkpatrick’s The Music Manuscripts of Charles Edward Ives (New Haven: Yale, reproduced typescript, 1960). Since the aim of the book is to characterize Ives’s style and not to understand his concepts of chamber music, this book has relatively little relevance to a study of chamber music per se. However, insofar as Ives’s stylistic characteristics are demonstrated in specific chamber works, these can be useful in attempting elsewhere a study of the chamber music. No one piece is analyzed in its entirety; rather, a few elements of each piece are considered for demonstrating some specific aspect of Ives’s style. 1646. Walker, Gwyneth. “Tradition and the Breaking of Tradition in the String Quartets of Ives and Schoenberg.” DMA dissertation. University of Hartford, 1976. RILM 76–15604. 109 pages. Analyzes and compares form, harmony, rhythm, meter, texture, and themes in Ives’s and Schoenberg’s first 2 string quartets. 1647. Schermer, Richard. “The Aesthetics of Charles Ives in Relation to his String Quartet No. 2.” MA thesis. California State University in Fullerton, 1980. UMI PSE 13–14856. Masters Abstracts xviii.4, p. 304. 184 pages. Ives’s concern for New England transcendentalism, humor, and politics is expressed in this quartet by quotations of American hymntunes, patriotic songs, and “incongruous combinations of melodies, rhythms, harmonies, and other musical matters.” Schermer analyzes these elements a lot further to understand “the correlation between the composer’s aesthetic principles and his art.” 1648. Cantrick, Susan Birdsall. “Charles Ives’s String Quartet No. 2: An Analysis and Evaluation.” MM thesis. Peabody Conservatory of Music, 1983. MAI 322234. MAI xx (1984), 280. 153 pages. Comparison of the holograph and a recent miniature score. “Analysis of compositional language and procedure [and] an examination of stylistic heterogeneity as the definitive characteristic of this and Ives’s music in general.” 1649. Phelps, Thomas. “Männer, Muskeln, Diskussionen: Zum 2. Streichquartett,” in Charles Ives, 1874–1954: Amerikanischer Pionier der

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neuen Musik, Hanns-Werner Heister and Werner Kremp, eds, (Trier: Wissenschaftlicher Verlag, 2004, ISBN 3884767054), 85–105. An analysis of the Ives quartet based on the use of borrowed tunes and how they fit into the program of the 3-movement work (I: Discussions; II: Arguments; III: The Call of the Mountains). 1650. Berners, John Edgar. “Use of Time and Spatial Form in String Quartet No. 2 by Charles Ives.” PhD dissertation Vol. 2. University of Michigan, 2005. vii + 110 pages. Volume 1 is an original composition. A sensitive analysis of the Ives quartet in a non-conventional manner. Normally in Western music, we listen to pieces linearly in time, but Ives did not write music with that assumption. Robert Morgan poses a different way to listen to Ives’ music: as static (stationary) and without forward motion (Leonard Meyer had also presented this). By considering his music as stasis, we hear Ives’s music in spatial rather than temporal orientation. Berners goes through the entire quartet to observe how time or space is used. 1651. Gratovich, Eugene. “The Sonatas for Violin and Piano by Charles E. Ives: A Critical Commentary and Concordance of the Printed Editions and the Autographs and Manuscripts of the Yale Ives Collection.” MAD dissertation. Boston University, 1968. UMI 71–14561. DAI xxxi.12A, pp. 6646–7. 242 pages. A scholarly study of the 4 pieces written 1903–1915 (3 not published until the 1950s). Gratovich discusses sources and editions, and gives 1 chapter to each sonata. A fifth chapter deals with unpublished music for violin + piano, including sketches for a fifth sonata. There are no analyses. For a discussion of Ives’s Sonata No. 2, see Paul Carlson’s “An Historical Background and Stylistic Analysis of 3 Twentieth Century Compositions for Violin and Piano” 338. 1652. Gingerich, Lora Louise. “Processes of Motivic Transformation in the Keyboard and Chamber Music of Charles E. Ives.” PhD dissertation. Yale University, 1983. UMI 83–29230. DAI xliv.9A, p. 2617. 288 pages. Discovers ways in which Ives modifies, varies, and develops motives in his pieces. Gingerich analyzes 2 piano works and the Sonata No. 4 for violin and piano. 1653. Milligan, Terry Gilbert. “Charles Ives: A Study of the Works for Chamber Ensemble Written between 1898 and 1908 which Utilize Wind Instruments.” DMA dissertation. University of Texas, 1978. UMI 78–17608. DAI xxxix.4A, p. 1919. 178 pages.

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In his early years, Ives wrote at least 25 pieces using wind instruments prominently. Milligan concentrates on From the Steeples and the Mountains, Scherzo: Over the Pavements, and Central Park in the Dark. 1654. Vastano, R. G., Jr. “A Biographical and Theoretical Analysis of the Trumpet in Selected Chamber Works of Charles Ives: An Aid to Performance.” DMA dissertation. Univiversity of Texas at Austin, 2002. DAI, lxiv (July 2003), p23A. After a brief biographical account of Ives and discussion of the editorial problems in Ives’s Yale manuscripts, Vastano analyzes 2 early chamber works including trumpet: “Fugue in Four Keys on ‘The Shining Shore’” scored for flute, trumpet (cornet), first violin, second violin, viola, cello, and bass; and “From the Steeples and the Mountains” scored for 4 sets of church bells (carillon), trumpet, and trombone. He includes considerable historical background on each piece, the hymn-tune sources, and practical performance issues. A discography and a selected list of other chamber pieces with trumpet form 2 appendices. Giuseppe Maria Jacchini c.1663–1727 1655. Pickard, Alexander L., Jr. “A Practical Edition of the Trumpet Sonatas of Giuseppe Jacchini.” DMA dissertation. Eastman School of Music, 1974. UMI 74–21522. DAI xxxv.4A, pp. 2325–6. 310 pages. Preceding this edition of 7 sonatas for trumpet + continuo composed between 1690 and 1703, Pickard provides an historical introduction and practical suggestions for performance. Gordon Jacob 1895–1984 1656. Lee, Walter Fulford. “Analysis of Selected Compositions by Gordon Jacob for Solo Oboe: Sonata for Oboe and Piano, Sonatina for Oboe and Harpsichord, Two Pieces for Two Oboes and Cor anglais, and Concerto No. 2 for Oboe.” DMA dissertation. Peabody Conservatory, 1978. UMI 78–23478. DAI xxxix.6A, p. 3213. 121 pages, 53 musical examples. Lee analyzes form, melody, pulse, articulation, textures, tonality, and historically stylized techniques in 4 of the 23 pieces Jacob has written for solo oboe and English horn. He supplies a complete works list, list of oboe works, discography, and correspondence. 1657. Pusey, Robert Samuel. “Gordon Jacob: A Study of the Solo Works for Oboe and English Horn and their Ensemble Literature.” DMA

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dissertation. Peabody Conservatory of Music, 1980. DAI xli.4A, p. 1275. 411 pages. Pusey gives a biography of Jacob, a discussion of stylistic influences on his music, and an analysis of 7 works, 5 of which are chamber pieces: Sonatina for oboe + harpsichord, Sonata for oboe + piano, Trio for flute + oboe + harpsichord, Sextet for piano + winds, and 3 Inventions for flute + oboe. There is also a bibliography of newspaper reviews and discussions. Elisabeth Jacquet de La Guerre 1659–1729 1658. Bates, Carol Henry. “The Instrumental Music of Elizabeth-Claude Jacquet de la Guerre.” PhD dissertation. Indiana University, 1978. DAI xxxix.5A, pp. 2605–6. 3 vols. 899 pages. Biography and history of Jacquet de La Guerre’s works. Volumes. II and III are modern editions of 6 unpublished trio sonatas (c.1695), the 14 pieces in Pieces de Clavecin qui peuvent se Joüer sur le Viollon (1707), and the 6 Sonatas pour le Viollon et pour le Clavecin (1707). 1659. Cessac, Catherine. Elisabeth Jacquet de La Guerre: une femme compositeur sous le Règne de Louis XIV. Arles: Actes sud, 1995. ISBN 2-7427-0599-6. ML410.J125C47.1995. 213 pages. A biography of this important composer at the court of Louis XIV and a description of her compositions. Her chamber music works include 4 early trio sonatas in manuscript, the 2 suites for harpsichord “which can also be played on the violin” (the violin presumably doubles the right hand of the harpsichord), published in 1707, and the 6 sonatas for violin and harpsichord, also published in 1707. Cessac gives a good introduction to the role Elisabeth played at court and to her works. Hyacinthe Jadin 1776–1800 1660. Oboussier, Philippe. “Une Révélation Musicale: les Quatuors de Hyacinthe Jadin,” in Le tambour et la harpe: oeuvres, pratiques et manifestations musicales sous la Révolution, 1788–1800, eds JeanRémy Julien and Jean Mongrédien (Paris: Éditions du May, 1991), 221–40. A brief description of the 12 string quartets by Jadin published in Paris 1795–8. All but 1 of the quartets are in 4 movements and follow the classical Viennese pattern; they are not quatuors brillants

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or concertants. Several are dedicated to Baillot. They are important examples of the developing French string quartet at the end of the 18th century. Leoš Janácˇ ek 1854–1928 1661. Vogel, Jaroslav. Leoš Janácˇ ek: A Biography, trl. from Czech by Geraldine Thomsen-Muchov, rev. by Karel Janovicky. London: Orbis Publishing, 1981. ML 410.J18V712.1981. ISBN 0-85613-0451. 439 pages. 1st ed. Prague: Artia, 1962. 1st English trl. London: Paul Hamlyn, 1962. Within the biography, Vogel explains the historical position of each chamber work, including lost and fragmentary pieces. He provides an analysis of the more important works (2 string quartets, Youth Wind Sextet, Violin + Piano Sonata, and Sonata “Fairy Tale” for Cello + Piano) and some extra-musical description. He points out ethnic scales and tunes. See also Patrice Royer Leoš Janácˇ ek (Paris: Bleu nuit, 2004, ISBN 2913575722), 175 pages. 1662. Pestalozza, Luigi. “Leoš Janácˇ ek,” in L’Approdo Musicale, iii (AprilJune, 1960), 3–74, section 17, “Musica da camera,” 59–62. In Italian. A brief but intelligent discussion of Janácˇ ek’s principal chamber music, commencing with the violin + piano sonata. Pestalozza points to popular Moravian influences in timbres and dance rhythms. 1663. Horsbrugh, Ian. Leoš Janácˇ ek: The Field that Prospered. London: David & Charles/New York: Charles Scribner’s Sons, 1981. ML 410. J18. ISBN 0-7153-8060-5. 327 pages. Horsbrugh discusses the chamber music in the course of the biography, especially the 2 string quartets and the third Violin + Piano Sonata. He considers programs and analyzes the music largely subjectively. 1664. Kaderavek, Milan R. “Stylistic Aspects of the Late Chamber Music of Leoš Janácˇ ek: An Analytic Study.” DMA dissertation. University of Illinois, 1970. RILM 72–1976. DAI xxxi.12A, p. 6649. 2 vols. Kaderavek characterizes the chamber music as naive with an intensely personal idiom and dramatic realism. He analyzes the peculiarly disjointed aspects of the music and its tie to folk music in 2 string quartets, Mládi (Youth) for wind sextet, and larger works. He considers Janácˇ ek’s speech melody, as well as other basic elements. See Martin Wehnert’s discussion of semantics in Janácˇ ek’s string quartets in “Zur syntaktisch-semantischen Korrelation in den streichquartetten

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Leoš Janácˇ eks,” in Jahrbuch-Peters, XVIII (1973–7), 185–94, and Erika Rathgeber’s “Monologe zu Viert: Janácˇ eks Selbstdramatisierung in den Streichquartetten” 232. 1665. Gerlach, Reinhard. “Leoš Janácˇ ek und die Erste und Zweite Wiener Schule: ein Beitrag zur Stilkritik seines instrumentalen Spätwerks,” in Die Musikforschung, xxiv (1971), 19–34. Studies 2 string quartets (1923 and 1928) and their relationship to the 18th- and 20th-century Viennese schools. Gerlach briefly characterizes the quartets of Haydn, Mozart, and Beethoven, considers the 19th century Romantic quartets as attempts to carry on from Beethoven; then he treats the nationalistic quartets of Smetana, and finally Smetana’s influence on Janácˇ ek. After lengthy analyses of the Janácˇ ek quartets, Gerlach turns to Schoenberg’s 5 quartets and considers the fact that there is no connection between the quartets of the 2 composers. Janácˇ ek, despite his quartal harmony, is not concerned with the same problems as Schoenberg. 1666. Rathgeber, Erika. “Monologe zu Viert: Janácˇ eks Selbstdramatisierung in den Streichquartetten,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds. In Beiträge der Österreichischen Gesellschaft für Musik, Band 12 (Vienna: Doblinger, 2006, ISBN 3900695814), 108–13. A brief discussion of the 2 late, programatic quartets that emphasizes the programs. 1667. Steltner, Ulrich, Ulrich Zwiener, Rainer Kleinertz, and Michael Berg. Europäisches Ereignis “Kreutzersonate” Beethoven – Tolstoj – Janácˇ ek, in Schriften des Collegium Europaeum Jenense, Band 30. Jena: Collegium Europaeum Jenense, 2004. ISBN 378960612-X. 87 pages. A collection of 4 essays on crossing the borders of literature and music, the Beethoven sonata, the Tolstoy novel, and Janácˇ ek’s quartet. This is a brief but well-written history and traditional description of each of the 3 works. It is concerned with what Tolstoy got from Beethoven and what Janácˇ ek got from both, and includes illustrations. 1668. Streibl, Mirijam Dagmar. “Die Macht der Inspiration: ‘Die Kreutzersonate’ von L. N. Tolstoj als Schlüssel zu Leoš Janácˇ eks 1. Streichquartett,” in Hudebni-veda, xl, No. 1 (2005), 49–62. In analyzing the first string quartet by Janacˇ ek, one looks for the purely musical aspects as well as what inspired the piece. The influence

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of Tolstoy’s novel should not be carried into too pragamatic an interpretation; the ideas of marriage and the power of music were inspirations, not images. Streibl works with the autograph copy of the quartet, which mentions the novel, and with Janacˇ ek’s own copy of the novel with its underlinings and annotations. He cautions against looking too hard for the 1908 trio in the quartet but, rather, suggests that the analyst should consider how far the same literary work inspired both pieces of music. 1669. Bersch, Kirsten. “First String Quartet (Kreutzer Sonata) by Leoš Janácˇ ek.” MA thesis. California State University, Fullerton, 2002. 1670. Stedron, Milos. “Janácˇ ek and the Paraphrase of Operetta Music? Marginalia on a Passage in the Fourth Movement of Janácˇ ek’s Second String Quartet ‘Intimate letters’ That Could Seem to be Suspicious for Serving as a ‘Mockery of the Banal,’” in Rudolfu Pecmanovi k sedmdesatinam/Rudolf Pecman zu seinem 70. Geburtstag, ed., Petr Macek, (Musicologica brunensia Sbornik praci Filozoficke Fakulty Brnenske Univerzity: H Rada-hudebnevedna, 2003), 31–7 1671. Josephson, Nors S. “Cyclical Structures in the Late Music of Leoš Janácˇ ek,” in The Musical Quarterly, lxxix (1995), 402–20. The article deals mostly with cyclical structures in Janácˇ ek’s operas but, towards the end, there is also a brief discussion of his second string quartet. 1672. Bek, Josef. “Nezn my Fragment Janáckova Kvarteta,” in Slezsky Sbornik, lviii (1960), 374–8. NYPL *QUA. In Czech. A detailed description of a 14-folio manuscript of a fragment of a Janácˇ ek string quartet. 1673. Wingfield, Paul. “Janácˇ ek’s ‘Lost’ Kreutzer Sonata,” in Journal of the Royal Musical Association, cxii (1986–7), 229+. 1674. Chausse, Elizabeth Suzanne. “Leoš Janácˇ ek’s Wind Sextet, “Mládí”: A History of an Interpretative Source and Suggestions for Performance.” DMA dissertation. Ohio State University, 2004. ISBN 049672276X. xv + 93 pages. Since the only score of this work now in print (1990) is faulty, owing to its failure to include expression and other markings that Janácˇ ek approved in the 1924 score and parts, Chause presents a critical reading of the score based on the early edition and first performances to set the record straight.

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Émile Jaques-Dalcroze 1865–1950 1675. Martin, Frank, and others. Émile Jaques-Dalcroze: l’Homme, le Compositeur, le Créateur de la Rythmique. Neuchâtel: Éditions de la Baconnière, 1965. HML 3431.15.23. 595 pages. A list of the chamber music (pages 472–6) shows a string quartet, string quartet movements, various works for violin, flute, and other instruments + piano, and so on. The authors discuss rhythmic peculiarities (such as mixed meters) in the pieces (pages 257–268). John Jenkins 1592–1678 1676. Warner, Robert Austin. “The Fantasia in the Works of John Jenkins.” PhD dissertation. University of Michigan, 1951. UM 2365. DA xi.2, pp. 378–9. 2 vols. 331 pages. Describes the cultural climate, musical background, and biography of Jenkins. Then Warner analyzes and discusses transcription problems in 105 of his 114 fantasias for instrumental ensemble. The earlier fantasias (c.1625–40) are a4–6 viols, conservative, 16th-century motet style with elaborations; the later fantasias (1654 and especially 1661–74) are progressive and scored for a2 trebles + bass. The level of chamber music is extremely high here and fills a gap between the madrigalists and Purcell in English music history. 1677. Ashbee, Andrew. “The Four-Part Instrumental Compositions of John Jenkins.” PhD dissertation. University of London, 1966. RILM 70–1650. 3 vols. I: 256 pages; II: 238 pages; III: 76 pages. 1678. Warner, Robert Austin. “John Jenkins’ Four-Part Fancy (Meyer, No. 14) in C Minor: an Enharmonic Modulation around the Key Circle,” in The Music Review, xxviii (1967), 1–20. Discusses this unusual fancy that goes through the circle of fifths. Warner gives an edition of the music, critical notes, and 4 facsimiles of 8 pages of the manuscript. 1679. Ashbee, Andrew. “The Fantasias for Viols by John Jenkins,” in A Viola da Gamba Miscellany: Proceedings of the International Viola da Gamba Symposium Utrecht 1991, eds, Johannes Boer and Guido van Oorschot (Utrecht: Foundation for Historical Performance Practice, 1994), 41–54. Ashbee offers a general description of the consort fantasias by Jenkins, their style and technique, and influences on them by Ferrabosco I and Orlando Gibbons.

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1680. Ashbee, Andrew. “John Jenkins’s Fantasia-suites for Treble, Two Basses and Organ,” in Chelys: The Journal of the Viola da Gamba Society, i (1969), 3–15, ii (1970), 6–17. Ashbee enlarges on Lefkowitz’s dissertation regarding Jenkins’s fantasias—the number of such suites and their sources. Then he analyzes them in detail. 1681. Ashbee, Andrew. “The Late Fantasias of John Jenkins,” in Chelys, xxv (1996–7), 53–64. 1682. Holman, Peter. “Suites by Jenkins Rediscovered,” in Early Music, vi (1978), 25–35. Holman submits a discussion of a manuscript—British Library Add. 31423—containing anonymous fantasy-suites that he believes are by John Jenkins. He identifies Jenkins’s style as based on consonant chords “enlivened by … virtuoso instrumental textures”—it is unlike the style of his English contemporaries but the same as that found in these anonymous suites. The suites are for 3 violins and continuo. 1683. Ashbee, Andrew. “Music for Treble, Bass and Organ by John Jenkins,” in Chelys, vi (1975–6), 25–42. Ashbee discusses 19 manuscript pieces by Jenkins for this consort and considers concordances. He includes sonata, aria, fantasia, dances, and other types. Willem Jeths b.1959 1684. Luttmer, Be˘ la. “Willem Jeths’ Derde Strijkkwartet Intus trepidare,” in Tijdschrift voor Muziektheorie, xi (February 2006), 9–14. Luttmer offers a general characterization of the style of the contemporary Dutch composer Jeth and a detailed analysis of his third string quartet. Of particular concern is the use of a fragment of Berg’s Lyric Suite. The piece was premiered by the Kronos Quartet. Karel Boleslav Jirák 1891–1972 1685. Tischler, Alice. Karel Boleslav Jirák: A Catalog of his Works, in Detroit Studies in Music Bibliography, No. 32. Detroit: Information Coordinators, 1975. ISBN 09-11772-74-X. 85 pages. Czech composer who lived in Chicago 1947–72. Tischler supplies an annotated list of works including 2 string trios, a woodwind trio, 7 string quartets, a piano quintet, a wind quintet, a sextet, and a nonet.

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Joseph Joachim 1831–1907 For the most thorough study of Joachim see 2715. 1686. Maas, Gary L. “The Instrumental Music of Joseph Joachim.” PhD dissertation. University of North Carolina, 1973. UMI 74–15364. DAI xxxv.1A, pp. 500–1. xi + 316 pages. Maas discusses the design, melody, tonality, and harmony, rhythm and texture of Joachim’s compositions, concentrating on 40 movements but making reference to all his music. Conservative in nature, Joachim’s music varies in quality and, even when technically well written, lacks “genius and inspiration.” Maas includes a biography and appended lists of all known works with dates, dedications, publishing data, location of manuscripts, and discography. This would seem to replace the old standard work on Joachim: 1687. Moser, Andreas. Joseph Joachim: ein Lebensbild. 1st ed. 1898. 2nd ed. 2 vols. Berlin: Deutsche Brahms-Gesellschaft, 1908–1910. HML 3440.16.57. I: xii + 225 pages; II: 401 pages. The standard biography, though not by any means the last word (for example, Moser cannot bring himself to mention Joachim’s Jewishness). Moser lists Joachim’s works and discusses them historically as part of the biography. Benjamin Johnston b.1926 1688. Shinn, Randall Alan. “Ben Johnston’s Fourth String Quartet,” in Perspectives of New Music, xv, No. 2 (1977), 145–73. The entire 1movement quartet is given on pages 161–173 (a theme and 9 variations). A detailed, highly technical analysis of the quartet (1973) and its basic structural aspect: proportionality (“the relationship between the elements of a system are determined by comparing the values [frequency, duration, etc.] of the elements themselves to each other as ratios, and not by reference to any equally segmented linear scale or measurement”). “The Fourth Quartet explores the potential of fluctuating proportional complexity; it uses as few as 5 proportional divisions of the octave and as many as twenty-two.” Johnston’s use of the hymn “Amazing Grace” brings in inevitable comparisons with Ives. But most of the discussion is taken up with mathematical proportions. 1689. Smith, Jeffrey A. “Three Composers, Three Ways: Lucier, Johnston, Crumb.” MA thesis. University of California, San Diego, 2001. Analysis of Ben Johnston’s String Quartet No. 4 and just its intonation.

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1690. Elster, Steven. “A Harmonic and Serial Analysis of Ben Johnston’s String Quartet No. 6,” in Perspectives of New Music, xxix (1991), 138–65. 1691. Huey, Daniel James. “Ben Johnston’s String Quartet no. 10: An Investigation of Tuning and Analysis.” MA thesis. University of Iowa, 2006. vii + 69 leaves. André Jolivet 1905–74 1692. Jolivet, Hilda. Avec … André Jolivet. Paris: Flammarion, 1978. HML 3453.15.42. ISBN 2-08-064061-5. 305 pages. After a biography, the author discusses Jolivet’s string quartet, suite for string trio, flute + piano sonata, flute + clarinet sonatina, and oboe + bassoon sonatina. She provides a brief description of the piece and a brief account of how it came to be. Joseph Jongen 1873–1953 1693. Dean, Geoffrey. “Belgian Duo: Joseph Jongen’s Chamber Music Lives On: Violin and Cello in a Romantic Setting,” in Strings, xix (August–September 2004), 40–3. A brief biography of the Belgian composer Joseph Jongen, who wrote a number of chamber pieces for violin and violoncello including the duo that is reviewed here. Pavel Fedorovich (Paul) Juon 1872–1940 1694. Whiting, Christopher. “Between Two Fronts.” Strings, xx (February 2006), 26–31. Discusses Juon’s String Quartet No. 3 and his career. Robert Kahn 1865–1951 1695. Fahl, Steffen. Tradition der Natürlichkeit; zu Biographie, Lyrikvertonungen und Kammermusik des spätromantischen Klassizisten Robert Kahn, in Berliner Musik Studien, Band 15. Sinzig: Studio, 1998. ISBN 3-89564-044-1. ML410.K12F35.1998. 279 pages + vi. Originally PhD dissertation. Berlin, Freie Universität, 1995. A biography of the minor German composer Robert Kahn (1865–1951), whose works include many songs and chamber music for various

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combinations of strings, winds, and piano. The forms of the chamber music are studied on pages 175–242. Friedrich Kalkbrenner 1785–1848 1696. Nautsch, Hans. Friedrich Kalkbrenner: Wirkung und Werk, in Hamburger Beiträge zur Musikwissenschaft, Band 25. Hamburg: Karl Dieter Wagner, 1983. HML 3490.50.58. ISBN 3-921-029-96-1. xii + 255 pages. A biography and study of the works of this famous German pianist, including a chapter on his chamber music: over 30 works, from duets to septets. Nautsch gives a history of each and a few cogent points about the music. Ernst ( = Ernest) Kanitz 1894–1978 For an analysis of his sonata for saxophone + piano, see Robert Sibbing’s dissertation 1312. Martin William Karlins 1932–2005 1697. Berry, Jan Noelle. “Tonality without a Key: A Performance Analysis of M. William Karlins’ Catena II for Soprano Saxophone and Brass Quintet, and Quintet for Alto Saxophone and String Quartet.” DMA dissertation. Northwestern University, 2003. Hugo Kaun 1863–1932 1698. Schaal, Richard. Hugo Kaun: Leben und Werk (1863–1932): eine Beitrag zur Musik der Jahrhundertwende. Regensburg: Josef Habbel, [1946]. HML 3500.15. 185 pages. A biography of this German composer who lived in Milwaukee 1887–1902, where he led choirs. A chapter on chamber music, including pieces for violin or cello + piano, a string quintet ( = piano quintet), octet (string quartet + clarinet + bassoon + horn + bass), a piano trio, and 4 string quartets. See also 264. Ivan Khandoshkin 1747–1804 1699. Mischakoff, Anne. Khandoshkin and the Beginning of Russian String Music. Ann Arbor: UMI Research Press, 1983. ML 410.K3935M6.

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ISBN 0-8357-1428-4. xx + 197 pages, 136 examples. Originally “Ivan Evstaf’evich Khandoshkin and the Beginnings of Russian String Music.” DMA dissertation. University of Illinois, 1978. DAI xxxix.12A, p. 7048. 268 pages. An extensive study of the life and works of Khandoshkin, whose variations and sonatas for violin alone or with another violin or with bass constitute some of the first publications by a Russian in St. Petersburg. He wrote many variations of Russian songs and arias to please Catherine the Great. Mischakoff studies the violinist’s technique and compares it to that of his great French and Italian predecessors and contemporaries. She uncovers misprints in some of his works. This is a good description of musical life in Russia 1760s–1804, especially chamber music clubs and concerts, with notes about the importance of foreign artists. Leon Kirchner b.1919 1700. Anthony, Carl Rheinhardt. “Formal Determinants in Four Selected Compositions of Leon Kirchner.” PhD dissertation. University of Arizona, 1984. UMI 84–21962. DAI xlv.10A, p. 3022. 202 pages. Of the 4 works studied here, 1 is the String Quartet No. 2. Anthony provides a biography, with comments on Kirchner’s style and the influences of Schoenberg, Berg, Bartók, and Stravinsky on him. “Durational elements are the most useful in formal delineation at all structural levels.” Peter Klatzow b.1945 1701. Zaidel-Rudolph, Jeanne. “The String Quartets of Peter Klatzow,” in South African Journal of Musicology, xxiv (2004), 85–98. A detailed, readable analysis of the 3 string quartets of the Polish composer Peter Klatzow: 1977, 1988, and 1997. The first survives in pencil only and is modernistic, complicated, fussy and “guided aleatoric.” The second is a brooding work similar to the late quartets of Shostakovich, and the third is a tonal/modal quartet that is the easiest for the audience to listen to. Jakob Friedrich Kleinknecht 1722–94 1702. Schmidt, Günther. “Die Musik am Hofe der Markgrafen von Brandenburg-Ansbach.” Inaugural dissertation. Ludwig-MaximiliansUniversität (Munich), 1953. ML 275.S29. v + 183 pages.

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Schmidt gives a brief history of the musical life in Ansbach before 1565, and a very detailed history from that year with the establishment of the Court Kantorei. He focuses on church music and opera but chamber music is found occasionally. A separate chapter on Kleinknecht’s chamber music goes into great detail on the meaning of chamber music in the 18th century and the solo and trio sonatas of Kleinknecht. Zoltán Kodály 1882–1967 1703. Mason, Colin. “Kodály and Chamber Music,” in Studia Musicologica, iii (1962), 251–4. This volume is also entitled Zoltano Kodály Octogenario Sacrum (Budapest: Akademiai Kiadó, 1962). Kodály wrote mostly chamber music until 1921, after which time he never wrote any more. The early works synthesize Debussy’s harmony with Hungarian folk music. Formally, he prefers slow rhapsodic movements and fast rondos of a folk-like character—rarely sonata form. Kodály abandoned chamber music when he realized that his desire to create a national music could not reach the masses in chamber music but only in symphonic music. This is a concise, easy to read article and a good introduction to chamber music for the layperson. 1704. Breuer, János. A Guide to Kodály. Trl. by Maria Steiner. Budapest: Corvina, 1990. ISBN 963-13-2908-9. ML410.K732.B713.1990. 225 pages. Historical background and analysis of each of Kodály’s chamber works: the 2 string quartets, the Cello Sonata Op. 4, Duo for Violin and Cello Opus 7, and the Serenade for Two Violins and Viola Op. 12. This is a good source for program annotators. 1705. Winterhager, Wolfgang. “Das 1. Streichquartett von Zoltán Kodály (1908–09),” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 155–63. A detailed analysis of Kodály’s first string quartet. 1706. Laki, Peter G. “Minuet for String Quartet (1897): Kodaly’s First Surviving Composition Rediscovered,” in NOTES, xlix (1992), 28–38. Shows the influence of Haydn’s Op. 55, No. 3. 1707. Brewer, Linda Rae Judd. “Progressions among Non-Twelve-Tone Sets in Kodaly’s ‘Sonata for Violoncello and Piano, Op. 4’: an

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Analysis for Performance Interpretation.” DMA dissertation. University of Texas, 1978. UMI 78–17606. DAI xxxix.4A, p. 1913. 77 pages. Brewer shows how Kodály has integrated Eastern European folk elements into a post-tonal style of music and “how pitch collections (cells) build on tritone combinations [to] permit progression between larger diatonic and octatonic sets.” She contends that this theoretical interpretation will lead to a more insightful performance. Charles Koechlin 1867–1950 For a catalogue of Koechlin’s compositions including chamber music, see L’Oeuvre de Charles Koechlin: Catalogue (Paris: Max Eschig, 1975), ii + 109 pages. ML 134.K65O4. 1708. Kirk, Elise K. “The Chamber Music of Charles Koechlin (1867– 1950).” PhD dissertation. Catholic University, 1977. DAI xxxviii.4A, pp. 1728–9. xii + 390 pages. A pupil of Fauré and teacher of Poulenc, Koechlin wrote over 40 pieces of chamber music that spring from an impressionist’s color and light, and yet mix in a wide variety and disparity of compositional aspects (tonality and atonality, diatonicism, chromaticism, and so on). His use of dynamic with static elements influenced Milhaud. Kirk considers his critical writings, his views of America as the result of 4 visits, diaries, autobiographies, commentaries, and other materials. 1709. Calvocoressi, M.D. “Charles Koechlin’s Instrumental Works,” in Music and Letters, v (1924), 357–64. Despite the title, this is primarily a study of the violin + piano sonata, through which Koechlin’s style in general is characterized. The viola sonata also gets some attention in this poetic analysis. Marek Kopelent b.1932 1710. Pukl, Oldrich. “Marek Kopelent,” in Hudebni Rozhledy, xxiii (1970), 423–8. In Czech. “A discussion of Marek Kopelent (b. 1932), a Czech composer who writes mainly chamber music.” Erich Wolfgang Korngold 1897–1957 1711. Goldberg, Miles. “The Piano Chamber Music of Erich Wolfgang Korngold.” DMA dissertation. Boston University, 2005. ISBN 0542079208. DAI, lxvi (October 2005), p1209A. ix + 215 pages.

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Traditional analyses of 4 pieces of chamber music by Korngold (1897–1957) that were written while he was still living in Vienna. These are: Piano Trio Op. 1, Sonata for Violin and Piano Op. 6, Piano Quintet Op. 15, and Suite for Two Violins, Violoncello, and Piano Left Hand Op.23. Goldberg concludes with suggestions for performance. See Susanne Rode-Breymann’s essay in 217. Leopold Kozeluch 1747–1818 See Christa Flamm’s “Leopold Kozeluch: Biographie und stilkritische Untersuchung der Sonaten für Klavier, Violine und Violoncello nebst einem Beitrag zur Entwicklungsgeschichte des Klaviertrios” 401; Finscher’s discussion of Kozeluch’s piano trios 407; Kube’s comparison with Mozart 1912; and Roger Hickman’s “Leopold Kozeluch and the Viennese Quatuor Concertant,” in College Music Symposium, xxvi (1986), 42–52. Joseph Martin Kraus 1756–92 1712. Pfannkuch, Wilhelm. “Sonatenform und Sonatenzyklus in den Streichquartetten von Joseph Martin Kraus,” in Georg Reichert and Martin Just, eds, Gesellschaft für Musikforschung, Bericht über den internationalen musikwissenschaftlichen Kongress Kassel 1962 (Kassel: Bärenreiter, 1963), 190–2. ML 36.I5K3.1962. Reviews the 9 string quartets by Kraus, written during the 1770s and 1780s. Pfannkuch considers the number of movements, the nature and form of the movements, and whatever elements (seemingly little concrete) make each movement cyclic. Johann Ludwig Krebs 1713–80 1713. Horstman, Jean. “The Instrumental Music of Johann Ludwig Krebs.” PhD dissertation. Boston University, 1959. LC Mic 59–3465. DA xx.4, p. 1387. 314 pages. Horstman discusses some chamber works by Krebs: 4 sonatas for violin + continuo, 6 trios for 2 flutes + continuo, and 8 sonatas for flute + harpsichord. A pupil of J.S. Bach, Krebs mixes Baroque and Galant styles overall, but the chamber music is principally Galant. Ernst Krenek 1900–91 1714. Chisholm, S. and E. Purdue. “Ernst Krenek: The Composer Talks About his String Quartets,” in Strings, vi (1992), 56–9.

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1715. Sunwoo, Patricia. “A Study of Imitative Procedures in the String Quartets of Ernst Krenek.” DMA dissertation. Juilliard School, 2001. 1716. Erickson, Robert. “Krenek’s Later Music (1930–1947),” in The Music Review, ix (1948), 29–44. Analyzes the row and its functions in String Quartet No. 6 (1936). The first 3 movements each exploit only 1 passive function of the row; the last movement combines all these functions and fully develops the themes that emerge from them. 1717. Krenek, Ernst. “Zu meinen Kammermusikwerken 1936–1950,” in Schweizerische Musikzeitung, xciii (1953), 102–4. Krenek reviews his own chamber music mostly written in exile in America: String Quartet No. 6 (discusses his use of a row, sonata form, and a fugue), Suite for cello solo, Sonatine für Flöte + Klarinette, Sonata for Viola Solo (the only sonata to use 2 different rows), Sonata for Violin and Piano (1944—his new idea of rotation, taking groups of 3 notes from a row and seeking a variety of harmony from them), String Quartet No. 7 (the same idea), and some other works. Krenek evolved his style of writing from strict 12-tone to a flexible style that depended more on the variety of sound than on obedience to rules. 1718. Staehle-Laburda, Michael. “Interflexionen for Four Violins [and] Ernst Krenek and the Twelve-Tone Technique: A Pilgrimage from Charles V to the Seventh String Quartet.” PhD dissertation. University of California in San Diego, 1989. DAI Vol. li (January 1991), p. 2195A. 127 pages. Staehle-Laburda considers how Krenek uses the 12-tone technique in String Quartet No. 7, Op. 96. Fritz ( = Franz) Krommer 1759–1831 1719. Walter, Hans. “Franz Krommer: sein Leben und Werk, mit besonderer Berücksichtigung der Streichquartette.” PhD dissertation. University of Vienna, 1932. 1720. Riehl, Wilhelm Heinrich von. “Franz Krommer: ein Beitrag zur Geschichte der Quartettmusik,” in Musikalische Charakterköpfe: ein Kunstgeschichtliches Skizzenbuch, II, 7th ed. (Stuttgart: J.G. Cotta, 1899), 213–54. ML 60.R551. A biography and historical analysis of the 65 quartets (a few with flute) and 22 quintets (which are his best works). Riehl also considers the wind chamber music a3 to a9. Though old, this has many good ideas. Riehl seeks to learn why Krommer, whose quartets were

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popular during his life-time and which demonstrate a steady evolution from Haydn-like to Beethoven, Rossini, Spohr, and Weber-like, was so quickly forgotten by performers and historians. The string works passed out of favor because they were second-rate; Krommer did not have Beethoven’s genius to keep a long movement going. In addition, the wind works passed out of favor because by the late-19th century wind chamber music was no longer fashionable. 1721. Wessely, Othmar. “Zur Neuausgabe eines Bläsersextetts von Franz Krommer,” in Die Musikforschung, xiii (1960), 194–5. Krommer was one of the most successful Czech musicians in Vienna in the late-18th century, and in the 61 years since Riehl’s study much of his music has been republished. Yet Wessely points out a wind sextet (Partita in E-flat), originally published by Peters in Leipzig in 1817 under Krommer’s name and republished in Leipzig (Hofmeister, 1955), that is definitely not by Krommer (cites Krommer’s own statement to that effect). See Hoff ’s dissertation 1317. Joseph Küffner 1777–1856 For information on a clarinet quintet, see Ulrich Rau’s “Von Wagner, von Weber?” 815. Daniel Friedrich Kuhlau 1786–1832 For a catalogue of Kuhlau’s chamber music, see Dan Fog, Kompositionen von Fridr. Kuhlau: thematisch-bibliographischer Katalog (Copenhagen: Dan Fog, 1977), page 14 for systematic listing. ML 134.K97A16.1977. ISBN 87-87099-09-8. 1722. Mehring, Arndt. Friedrich Kuhlau im Spiegel seiner Flötenwerke. Frankfurt: Zimmermann, 1992. ISBN 3-9217-2964-5. xvi + 190 pages. English translation by Laszlo and Doris Tikos, ed. by Jane Rausch, Friedrich Kuhlau in the Mirror of his Flute Works. Warren (MI): Harmonie Park Press, 2000. ML410.K96M4413.2000. ISBN 0-8999-0091-7. xviii + 103 pages. A biography of Kuhlau with a brief discussion of his vast chamber music output interwoven throughout. Daniel Friedrich Kuhlau was a German composer living in Denmark. 1723. Fairbanks, Ann Kozuch. “Music for Two, Three, and Four Flutes by Friedrich Kuhlau.” DMA dissertation. Ohio State University, 1975. UMI 76–3360. DAI xxxvi.8A, p. 4837. 85 pages.

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Fairbanks provides a biography of Kuhlau, a history of the preBoehm flute, and analyses of the duets Opp. 10a, 39, 80, 81, 87, 102, and 119 (the last with piano), the trios Opp. 13, 86, and 90, and the flute quartet Op. 103. She lists Kuhlau’s music categorically, provides publication information on it, and translates reviews on Opp. 10a and 87 from Allgemeine musikalische Zeitung. György Kurtag b.1926 1724. Addessi, Anna Rita, and Roberto Caterina. “Analysis and Perception in Post-Tonal Music: An Example from Kurtag’s String Quartet Op. 1.” Psychology of Music, xxx (January 2005), 94–116. Addessi carries out an experiment in how an atonal movement of a string quartet is perceived by professional music theorists who read the score and by a mixture of professional and lay listeners who listen to the same music. The results were then compared, which showed that, for the most part, the 2 groups agreed on the structure of the piece. Before presenting the results, however, Addessi and Caterina, both at the University of Bologna, were cautious in defining elements of structure and macrostructure that governed how the 2 groups approached the music. The music chosen was the first movement of the Op. 1 String Quartet (1959) by Kurtág. 1725. Hoffmann, Peter. “Post-Webernsche Musik?” in Musiktheorie, vii (1992), 129–48. Includes a study of Gyoergy Kurtág’s String Quartet, Op. 28. 1726. Hoffmann, Peter. “‘Die Kakerlake such den Weg zum Licht’: zum Streichquartett op. 1 von György Kurtág,” in Die Musikforschung, xliv (1991), 32–48. Analysis of the string quartet composed in 1959 by the RumanianHungarian composer Kurtág. 1727. Halász, P. “On Kurtág’s Dodecaphony.” Studia Musicologica, xliii, Nos. 3–4, (2002), 235–52. Helmut Lachenmann b.1935 1728. Abbinanti, Frank. “Sections of ‘Exergue/Evocations/Dialogue with Timbre,” in Helmut Lachenmann: Inward Beauty. Dan Albertson, ed. 2004, 81–90. A pastiche of thoughts on Lachenmann’s Guero and Serynade for piano, and on his first string quartet.

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1729. Alberman, David. “Abnormal Playing Techniques in the String Quartets of Helmut Lachenmann,” in Contemporary Music Review, xxiv (February 2005), 39–51. Lachenmann has composed 3 string quartets: Gran Torso (1971–2, with later revisions), Reigen seliger Geister (1989), and Grido (2000–1, revised 2002). Since Lachenmann is not a classically trained string player, he has not confined himself to classically produced string sounds. He therefore set out to discover new sounds and new techniques for producing them on string instruments. Then he adapted classical notation so that the players know what to do. Alberman “define[s] the broad features of the norms of playing technique that Lachenmann confronts … and describe[s] the abnormal techniques as seen in the quartets, which arise from this encounter.” He also suggests a loose taxonomy of sounds and techniques, which point to their compositional significance and concludes with a discussion of “the significance of these sounds and techniques to interpreter, audience and composer … ” 1730. Lachenmann, Helmut. “Reigen seliger Geister” (1989). In Musik als existentielle Efrahrung: Schriften 1966–1995, J. Häusler, ed. (Wiesbaden: Breitkopf & Härtel, 1996), 399ff. English translation: “On My Second String Quartet (‘Reigen seliger Geister’),” Evan Johnson, trl., in Contemporary Music Review, xxiii, Nos. 3–4 (September–December 2004), 59–79. A major statement by Lachenmann on the sounds he utilizes in this string quartet. The 1996 volume contains numerous other essays on and by Lachenmann. 1731. Meelberg, Vincent. “A Telling View on Musical Sounds: A Musical Translation of the Theory of Narrative,” in Narrative Theory: Critical Concepts in Literary and Cultural Studies, Vol. IV: Political Narratology (London/New York: Routledge, 2004), 287–316. After a lengthy, detailed, theoretical study of musical narrative based on temporal development, Meelberg shows how Helmut Lachenmann’s unconventional Second String Quartet (1989) fulfils the criteria for narration. Rather than an action created by a conflict between changes in harmony or melody, in this quartet the action is created by continual changes in timbre—the tension between conventional and unconventional musical sounds as they occur in time. The musicians themselves, by continually demonstrating how they change timbre, make their actions actors in the narration. 1732. Jahn-Bossert, Hans-Peter. “Fear of … ? Essayistic Miniatures on ‘Grido.’” Contemporary Music Review, xxiv (February 2005), 31–8.

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Lachenmann’s Third String Quartet, Grido, is discussed in the manner of a discourse, placing it within the context of his previous 2 string quartets. This is a polemic that is weighed down by the author’s embittered feeling of rejection by the establishment and by a pedantic, Germanic overloading of complicated expressions. Heinrich Eduard Josef von Lannoy 1787–1853 1733. Suppan, Wolfgang. Heinrich Eduard Josef von Lannoy (1787–1853): Leben und Werke, in Steirischer Tonkünstlerbund, Musik der Steiermark, Reihe 4: Beiträge zur steirischen Musikforschung, Band 2. Graz: Akademische Druck, 1960. HML 3691.60.83. 100 pages. A biography and brief discussion of a string quintet, a quintet for piano + oboe + clarinet + bassoon + horn, a piano trio, a clarinet trio, and others. There is no analysis and not much history. William Lawes 1602–45 1734. Lefkowitz, Murray. William Lawes. London: Routledge and Kegan Paul, 1960. ML 410.L334L4. x + 350 pages, 41 examples, 5 complete movements for consort. The definitive biography and study of the consort music of this important English composer. 1735. Ashbee, Andrew, ed. William Lawes (1602–1645): Essays on his Life, Times and Work. Aldershot/ Brookfield (VT): Ashgate, 1998. Ml410.L334W55.1998. ISBN 1-85928-354-3. xviii + 386 pages. A collection of essays on William Lawes, several of which have a direct bearing on his chamber music. Ashbee himself, in “William Lawes and the ‘Lutes, Viols and Voices’” (pages 1–10), describes the structure of the musical establishment of the time, including where chamber music was performed. Christopher D.S. Field, “Formality and Rhetoric in English Fantasia-Suites” (pages 197–249), considers in very erudite fashion the consort fantasias of William Lawes and John Coprario in light of theories of rhetoric as expounded by Charles Butler (1636) and Sir Francis Bacon (1626). David Pinto’s “New Lamps for Old: The Versions of the Royall Consort” (pages 251–281) considers the instrumentation of these pieces. Mark Davenport, “The Aire in William Lawes’s Five- and Six-Part Consort Sets for Viols and Organ: a Comparison and Analysis” (pages 283–306), shows that Lawes contrasted the serious fantasia with the “light, dance-like,” carefree aire.

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1736. Pinto, David. For the Viols: The Consort and Dance Music of William Lawes. London: Fretwork, 1995. ML410.L334.P56.1995. ISBN 1-8981-3104-X. vi + 194 pages. Detailed descriptions of Lawes’s consort music based on editions edited and published elsewhere by Pinto. Pinto approaches the music as a seasoned performer specializing in Lawes’s music, someone who has studied Lawes’s music in greater depth than anyone else, and therefore the book is valuable to all other performers. It contains a useful bibliography. 1737. Pinto, David. “Music at Court: Remarks on the Performance of William Lawes’s Works for Viols,” in A Viola da Gamba Miscellany: Proceedings of the International Viola da Gamba Symposium Utrecht 1991, eds, Johannes Boer and Guido van Oorschot (Utrecht: Foundation for Historical Performance Practice, 1994), pages 27–40. Considers where and when these suites could have been performed at court. Luise Adolpha Le Beau 1850–1927 1738. Keil, Ulrike Brigitte. Luise Adolpha Le Beau und ihre Zeit: Untersuchungen zu ihrem Kammermusikstil zwischen Traditionalismus und ‘Neudeutscher Schule’, in Europäische Hochschulschriften, Reihe XXXVI, Band 150. Frankfurt am Main/New York: Peter Lang, 1996. ISBN 3-631-48930-7. ML410.L408.K45. 310 pages. Originally Heidelberg University PhD dissertation, 1995. Keil provides a detailed, definitive, scholarly biography of Le Beau (1850–1927), a significant German composer of chamber music, followed by an overview of her compositions and then detailed analyses of her chamber music: 2 violin-piano sonatas, a piano trio, a cello sonata, a piano quartet, a string quartet, a string quintet, and a few smaller works. Jean Marie Leclair 1697–1764 1739. Zaslaw, Neal Alexander. “Materials for the Life and Works of JeanMarie Leclair l’Aîné.” PhD dissertation. Columbia University, 1970. UMI 73–8995. DAI xxxiii.10A, p. 5771. 529 pages. Zaslaw provides new data for Leclair’s biography, documented by about 200 items. Leclair was a French violinist, despite his Italian training. Zaslaw discusses the styles of each movement of the 89

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works of Leclair’s 15 opera (many sonatas) and gives an exhaustive catalogue with incipits and complete bibliographic information. This is the major scholarly work on Leclair. 1740. Preston, Robert Elwyn. “The Forty-eight Sonatas for Violin and Figured Bass of Jean-Marie Leclair, l’Aîné.” PhD dissertation. University of Michigan, 1959. LC Mic 59–4972. DA xx.5, p. 1821. 656 pages. An historical and stylistic study of the 4 books of 12 sonatas each (1723, 1728, 1734, and 1738). Preston discusses such performance questions as figured bass realization and ornamentation, and analyzes each of the sonatas. He notes specifically Leclair’s expansion of violin technique (double stops) and unusual harmonic progressions, his diverse treatment of the standard slow–fast–slow–fast pattern of movements, and his stylistic flexibility between Baroque and Rococo styles. 1741. Appia, Edmond. “The Violin Sonatas of LeClair,” in The Score, No. 3 (1950), 3–19 (a complete sonata can be found on pages 11–19). A brief biography and overall stylistic analysis of the sonatas, primarily for performers. Appia points to several features of Lecalir’s style: frequent monothematicism and the cyclic use of a single motive throughout all 4 movements (43 out of 48 sonatas); excessive double, triple, and even quadruple stopping, which revolutionized both left and right hand techniques; and duo concertante between bass and violin. He gives performance suggestions for the reproduced sonata; he emphasizes Leclair’s role in founding a truly French style. 1742. La Laurencie, Lionel de. “Le Rôle de Leclair dans la Musique Instrumentale,” in La Revue Musicale, iv, No. 3 (1923), 12–20. La Laurencie evaluates Leclair’s influence on French violin music (sonatas in particular) and on other types of music as well. For example, he eliminates dance movements from sonatas, and others basically follow him in this. 1743. Zaslaw, Neal Alexander. “Handel and Leclair,” in Current Musicology, No. 9 (1969), 183–9. Demonstrates convincingly Leclair’s knowledge of and debt to Handel’s sonatas and other chamber works. See also 323 for a general study of the French violin sonata with Leclair as the focus point for the early sonata.

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Jean-Xavier Lefèvre 1763–1829 1744. Harman, Dave Rex. “Six Quartets for Clarinet, Violin, Viola, and Cello by Jean-Xavier Lefèvre (1763–1829): A Critical Score with Analysis and Historical Perspective.” DMA dissertation. University of Rochester, 1974. UM 75–581. DA xxxv.7A, p. 4586. 2 vols. I: vi + 108 pages; II: ii + 151 pages of music. Harman discusses the development of the clarinet in Lefèvre’s time (he was the first professor of clarinet at the Paris Conservatory and had other important performing positions) and his role in that development. He uses Lefèvre’s own Méthode (1830) by which to judge him; he analyzes the forms and harmonies of the quartets. René Leibowitz 1913–72 For a catalogue of Leibowitz’s 9 string quartets and other chamber pieces, see Jacques-Louis Monod, Rene Leibowitz, 1913–1972: A Register of his Music and Writings (Hillsdale [New York]: Mobart Music Publications, 1983), 32 pages. ML 134.L45M66.1983. Foreword in German and English by Rudolf Kolisch. 1745. Ogdon, Wilbur Lee. “Series and Structure: An Investigation into the Purpose of the Twelve-note Row in Selected Works of Schoenberg, Webern, Krenek and Leibowitz.” PhD dissertation. Indiana University, 1955. UMI 56–551. DA xvi.2, p. 351. 341 pages. Analysis of the 12-tone technique and its influence on other factors of composition of the third string quartet and 3 other non-chamber-music works. Cristiano Giuseppe Lidarti 1730–93 1746. Grolman, Ellen Kerry. “Cristiano Giuseppe Lidarti: Six String Quartets.” DMA dissertation. University of Missouri, 1986. DAI Vol. xlvii (February 1987), p. 2789A. 302 pages. Grolman analyzes 6 string quartets by Lidarti composed shortly after 1762 in Pisa. He includes a biography and lists of works. Grolman, with a name change, summarizes the thesis in Ellen Grolman Schlegel, “The String Quartets of Cristiano Giuseppe Lidarti,” in American String Teacher, xliii (1993), 70–3. José Lidón 1748–1827 1747. Montero García, J. “La música de cámara de José Lidón (1748–1827),” in Revista de Musicología, xxviii (June 2005), 731–47.

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After a biography of the royal organist Lidón, Montero describes in considerable detail Lidón’s duet for viola and violón (bass), another for violin and viola, and a quartet for trumpet, 2 violins and violón (in concerto form). György Ligeti 1923–2006 For a brief catalogue of Ligeti’s chamber music, see Anon., György Ligeti: Werkverzeichnis (Mainz: B. Schott’s Söhne, 1977), 14. ML 134.L5A1. 1748. Ross, Alex. “The Chamber Music of György Ligeti,” in Chamber Music, xxiii, No. 6 (December 2006), 46–9. A brief description for the layperson of Ligeti’s 2 string quartets (1954 and 1968), Ten Pieces for Wind Quintet (1968), and the Horn Trio (1982). 1749. Anon. “Tradition und Transzendenz in György Ligetis Erstem Streichquartett,” in Musiktheorie, xiv (1999), 3–12. 1750. Power, R. S. “An Analysis of Transformation Procedures in György Ligeti’s String Quartet No. 2.” DMA dissertation. University of Illinois at Urbana-Champaign, 1995. DAI Vol. lvii (October 1996), p. 1380A +. 125 pages. Power’s dissertation deals with transformation procedures (“transformation of musical parameters from one state to another”) in Ligeti’s string quartet. It is a highly technical study. 1751. Kaufmann, Harald. “Ligetis zweites Streichquartett,” in Melos, xxxvii (1970), 181–6. A lengthy review of the quartet (1968). Kaufmann recognizes new criteria with which to judge the piece—the old criteria do not apply, even though Ligeti is developing from his historical antecedents. Kaufmann seeks in Beethoven’s late quartets answers for the aesthetic questions posed by Ligeti’s music. 1752. Spies, Bertha. “Facilitating Access to Atonal Music: Ligeti’s Second String Quartet,” in Journal of the Musical Arts in Africa. ii (2005), 55–69. This is an attempt by Spies to relate the mathematical properties of Ligeti’s second string quartet with architectural aspects of mathematics as in the Fibonacci series and the Le Corbusier’s building designs. She believes that this aids in understanding the overall structure of the quartet. 1753. Häusler, Josef. “Wenn man heute ein Streichquartett schreibt,” in Neue Zeitschrift für Musik, cxxxi (July–August, 1970), 378–81.

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An interview in 1968 with Ligeti, who is about to write his second string quartet. Mindful of the tradition of string quartets, Ligeti makes no effort to write Hausmusik. It is difficult to follow Bartók, Schoenberg, and Berg. Ligeti hopes to create something new, yet also wants to hark back to tradition (he uses concrete quotations sometimes—as in the first string quartet, movement 5, from Bartók—just as Berg quotes Wagner’s Tristan in the Lyric Suite). Häusler gives a discussion of 1-movement or more than 1-movement string quartets, of static form and broken-up form. Ligeti characterizes the motion in each of the 5 movements of his quartet. 1754. Ligeti, György. In Conversation with Péter Várnai, Josef Häusler, Claude Samuel and Himself, trl. Geoffrey Skelton. London: Eulenburg Books, 1983. HML 3788.15.50. ISBN 0-903873-68-0. 140 pages. This is a brief biography and a list of compositions to 1983 that includes a trio for horn + violin + piano (1982). Várnai’s interview has Ligeti state that his most important work is his second stringquartet,andtheinterview begins with Ligeti explaining it. The second interview, with Häusler, has little to do with chamber music until near the end where again the second string quartet is discussed. There is no more chamber music in the book, but it supplements Kaufmann and Häusler’s works above. For a discussion of the Trio for Violin, French Horn and Piano see 691. 1755. Morrison, Charles Douglas. “Stepwise Continuity as a Structural Determinant in György Ligeti’s Ten Pieces for Wind Quintet,” in Perspectives of New Music, xxiv (Fall–Winter, 1985–1986), 158–82. Morrison shows how Ligeti creates the structural means for centricity—the function of junctures in the music as relating to a central organization of a piece. In traditional music, these junctures are cadences that relate to the tonal center. In this work, “stepwise connections in bilinear instrumental parts … and twelve-note patterns of pitch-class unfolding … [effect] disected linear continuities toward established structural goals.” Pietro Locatelli 1695–1764 1756. Eynard, Marcello. Il Musicista Pietro Antonio Locatelli: un itinerario artistico da Bergamo ad Amsterdam. Bergamo: Circolo lirico MayrDonizetti, 1995. 780.92.L811E97.1995. iv + 92 pages. A good, general biography of Locatelli, with consideration of his compositions. The analyses discuss primarily form. The book is without footnotes but does have a bibliography.

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1757. Dunning, Albert. Pietro Antonio Locatelli: der Virtuose und seine Welt. 2 vols. Buren (The Netherlands): Frits Knuf, 1981. ISBN 906027-380-X (paper: 90-6027-411-5). I: xv + 346 pages; II: v + 260 pages (thematic catalogue, iconography, and documents). Dunning provides an in-depth study of Locatelli’s Sonatas Opp. 2, 5, 6 and 8, with a thorough catalogue including bibliography, editions, and much other data. It includes many musical examples illustrating instrumental technique, harmony, and style. Dunning shows thematic resemblances from 1 sonata to another. To some extent, the book supplants Arend Koole, Pietro Antonio Locatelli da Bergamo 1695–1764: Italiaans Musycqmeester tot Amsterdam (Amsterdam: Jasonpers Universiteitspers, n.d.). 1758. Calmeyer, John Hendrik. “The Life, Time and Works of Pietro Antonio Locatelli.” PhD dissertation. University of North Carolina, 1969. UMI 70–3210. DAI xxx.9A, pages 3967–8. 481 pages. A detailed account of Locatelli, the late Baroque violinist, and his concerto-caprices. Of particular importance are his trio sonatas for violin + cello + keyboard. 1759. Saccà, Luigi. “Le Sonate dell’ Opera II di Pietro Antonio Locatelli: Osservazioni sulla loro Construzione,” in Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695–1764), ed. Albert Dunning (Lucca: Libreria Musicale Italiana, 1995), 1071–1112. A detailed analysis of the 12 sonatas for transverse flute and basso published in Amsterdam in 1732 as his Op. 2. Saccà considers their tonal scheme, phrase structure, ornamentation, and cadential phrases. Mathew Locke c.1630–77 For a catalogue of Locke’s chamber music, see Rosamond E.M. Harding, A Thematic Catalogue of the Works of Mathew Locke with a Calendar of the Main Events of his Life (Oxford: Alden Press, 1971), 90–128. ML 134.L79H4. 1760. Field, Christopher D.S. “Matthew Locke and the Consort Suite,” in Music and Letters, li (1970), 15–25. Locke differs from his contemporary Englishmen in the care with which he orders the movements of his suites. Field goes collection by collection to show how the movements are grouped into suites, and he compares different sources. For example, the “Little Consort” (1651) consists of ten, 4-movement suites whose movements are pavan, ayre ( = alman), courante, and saraband, while the “Consort

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of Fower Parts” consists of 6, 4-movement suites whose movements are fantazie, courante, ayre, and saraband. Loeillet family 18th century 1761. Skempton, Alec. “The Instrumental Sonatas of the Loeillets,” in Music and Letters, xliii (1962), 206–17. Skempton establishes the existence of 3 rather than 2 members of the Loeillet family and gives specific bibliographic information on their various sonata publications (including contents): 5 sets of sonatas for solo and continuo (54 works) by Jean Baptiste L’Oeillet de Gant (Amsterdam: Roger, c.1710–17); 3 sets of trio sonatas (18 works) by John Loeillet (London: Walsh, 1722–29); and 2 sets of sonatas (6 solo and 6 trio) by Jacques Loeillet (Paris: Boivin, 1728). Louis Ferdinand, Prince of Prussia 1772–1806 1762. McMurtry, Barbara Hughes. “The Music of Prince Louis Ferdinand.” PhD dissertation. University of Illinois, 1972. UMI 72–19880. DAI xxxiii.1A, pp. 351–2. 365 pages, 154 examples. Of the 13 published works of Louis Ferdinand, 11 works are chamber music with piano: 3 piano trios, 2 piano quartets, 1 piano quintet, Andante with Variations for piano quintet, Larghetto with variations for piano quintet, a nocturne, an octet, and a rondo. The other 2 pieces are for solo piano. McMurtry devotes an entire chapter to the relationship between the music of the Prince and that of Beethoven, Field, Weber, Chopin, and especially Dussek, who was a close friend and edited his posthumous works. She gives considerable biographical information on this statesman, warrior, and scholar, and descriptions of German Romanticism and Berlin c.1800. Jean-Baptiste Lully 1632–87 For a list of his Trios de la Chambre du Roi (1667ff.), see Herbert Schneider, Chronologisch-thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (LWV), in Mainzer Studien zur Musikwissenschaft, Band. 14 (Tutzing: Hans Schneider, 1981), pages 139–146. ML 134.L956S358. ISBN 3-7952-0323-6. Witold Lutoslawski 1913–94 1763. Stucky, Steven. Lutostawski and his Music. Cambridge: Cambridge University Press, 1981. ML 410.L965. ISBN 0-521-22799-2. ix + 252 pages.

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This book has an extensive bibliography of works about Lutoslawski’s music. The only piece of chamber music since 1961 is the string quartet. Stucky provides detailed analysis for the scholar of motives, quarter tones, microrhythmic gestures, and much more. He finds limited aleatorism, traditional sounds (no attempt to go further than Bartók), “compelling but musical substance,” and “powerful formal structure.” 1764. Selleck, John. “Pitch and Duration as Textural Elements in Lutoslawski’s String Quartet,” in Perspectives of New Music, xiii (1975), No. 2, 150–61. Selleck finds that Lutoslawski subordinates pitch, rhythm, and interval to textural considerations (color) in his string quartet (1964). He analyzes pitch and interval. Pitch is of 4 types: interval classes 1 and 6, all interval classes, octaves, and quarter tones. All elements in conjunction produce a succession of dramatically contrasting sections. There is a logical relationship from 1 section to the next as individual elements reappear, but the texture is what is heard as the main surface element and it contrasts from section to section. 1765. Spies, Bertha M. “Oppervlakkonstrukte as sleutel tot dieperliggende strukturele verhoudings: ‘n huldeblyk aan Witold Lutoslawski,” in South African Journal of Musicology – SAMUS, xiv (1994), 49–63. 1766. Liu, Yongping. “Youxian ouran de weijiezou zuzhi: Lutuosilafusiji xianyue sichongzou yanjiu” (The microrhythmic framework of limited aleatorism: A study of Lutoslawski’s string quartet), in Huangzhong Wuhan Yinyue Xueyuan xuebao/Journal of Wuhan Conservatory of Music, No. 65 (Spring 2003), 15–22. For other discussions of the string quartet (1964), see Michael Coonrod 742, and Peter Gülke in 675, pages 243–9. Elizabeth Maconchy 1907–94 1767. Matthew-Walker, Robert. “The Early String Quartets of Elizabeth Maconchy,” in Musical Opinion, cxii (November 1989), 370+. See 2777 for a quintet by Maconchy. Gustav Mahler 1860–1911 For a comparison of Mahler’s early piano quartet with those by Brahms and Dvorák, see Klaus Stahmer’s article 1369.

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1768. Birtel, Wolfgang. “‘Eine ideale Darstellung des Quartetts’: zu Gustav Mahlers Bearbeitung des Streichquartetts d-Moll D 810 von Schubert,” in Neue Zeitschrift für Musik,” cil (February 1988), 13–17. Artur Malawski 1904–57 1769. Schäffera, Boguslawa, ed. Artur Malawski: Zycie i Twórczosc. Cracos: Polskie Wydawnictwo Muzyczne, 1969. HML 3937.45.80. 419 pages. In Polish. A study of the life and works of the Polish violinist Malawski, with a special synthesis of his style and documents. It includes analyses of specific works by other writers, especially Zygmunt Wachowicz, “Il Kwartet Smyczkowy” (pages 112–18) and Zbigniew Ciechen, “Trio Fortepianowe” (pages 118–26). Ursula Mamlok b.1928 1770. Prevost, Roxane. “Metrical Reinterpretations in Ursula Mamlok’s ‘Panta Rhei’, IV (1981),” in Canadian University Music Review, xxiii, Nos. 1–2 (2003), 145–65. An analysis of the rhythm of the fourth movement of Mamlok’s Piano Trio Panta Rhei. Prevost bases her study on a concept of time in flux (in Greek ‘Panta Rhei’) first presented by Christopher Hasty, Meter as Rhythm (New York: Oxford University Press, 1997) and concentrates on the subtle metric changes of the repetitions of the opening unison motive (completing projections). Alessandro Marcello 1669–1747 and Benedetto Marcello 1686–1739 1771. Selfridge-Field, Eleanor. The Music of Benedetto and Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory, and Sources. Oxford: Clarendon Press/New York: Oxford University Press, 1990. ISBN 0-1931-6126-5. MT134.M39A35.1990. xvii + 517 pages. A thematic catalogue of the sonatas by Benedetto Marcello, with commentary on each work. The volume begins with biographies of both brothers and a 2-page discussion of the sonatas, and it ends with a bibliography. The Marcello sonatas are mostly for a solo instrument (violin, violoncello, flute or recorder) with continuo, but there are the 6 sonatas for 2 violoncellos and continuo as well. This is an important work by an important scholar.

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Biagio Marini c.1587–1665 1772. Dunn, Thomas Dickerman. “The Instrumental Music of Biagio Marini.” PhD dissertation. Yale University, 1969. RILM 69–3620. UM 70–16260. DA xxxi.3A, p. 1307. 2 vols. 502 pages. Dunn analyzes all Marini’s instrumental works with equal emphasis on his more successful solo + continuo and trio sonatas (2 trebles + continuo), and his less successful canzonas, dances, and variations. Marini uses technically difficult violinistic passages sparingly and only when they contribute to the music. 1773. Dunn, Thomas Dickerman. “The Sonatas of Biagio Marini: Structure and Style,” in The Music Review, xxxvi (1975), 161–79. Dunn reviews the sonata before Marini (especially Giovanni Paolo Cima and Salomone Rossi), and describes the contents of Marini’s Affetti Musicale, Op. 1 (1617), Sonate, Op. 8 (1629), and Sonate, Op. 22 (1655). He analyzes basic forms, textures, and styles. This is an important introduction to the early history of sonatas. 1774. Stuart, David Henry. “A Comprehensive Performance Project in Trombone Literature with an Essay Consisting of the Use of the Trombone in Selected Chamber Compositions of Biagio Marini.” DMA dissertation. University of Iowa, 1981. DAI xlii.5A, pp. 1847–8. 239 pages. A study of Marini’s use of the trombone as a continuo instrument as well as a concertante instrument—in the latter case, sometimes for 2 or more trombones with or without violins. Frank Martin 1890–1974 For a systematic list of Martin’s works, see Werner Misteli, ed., Frank Martin: Liste des Oeuvres (Zurich: Archives Musicales Suisses, 1981). Chamber music is on pages 35–6. 1775. Martin, Bernard. Frank Martin ou la Réalité du Rêve. Neuchâtel (Switzerland): Éditions de la Baconnière, 1973. HML 3991.15.52. 230 pages. This is a study of Martin’s aesthetics, including topics such as “Responsibility of the Composer,” musical language, lyricism, and so on. A small chapter on chamber music (pages 174–183) fits the music into Martin’s aesthetics. This is not a history or a musical analysis. 1776. Maindreville, Florence Doé de. “Le Trio sur des mélodies populaires irlandaises de Frank Martin (1890–1974): une approche originale du folklore,” in Revue Musicale de Suisse Romande, lvii (September 2004), 36–57.

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Maindreville shows how Martin uses 20 borrowed Irish songs and dances in the 3 movements of his piano trio. She discusses the melodies, which often are presented intact; the harmonies, which are often dictated by bourdons and ostinati rather than by traditional progressions; the rhythms, which are often jig-like; the juxtaposition and superimposition of the borrowed melodies with themselves and sometimes with original melodies; the sonorities in the spirit of Irish music; and the use of variation rather than development. Dusan Martincek b.1936 1777. Babcock, D. “Dusan Martincek: an Introduction to his Music,” in Tempo, No. 179 (December 1991), 25–6. Deals with Martincek’s string quartet. Donald Martino 1931–2005 1778. Faverman, John. “Some Compositional Procedures in the First Movement of Donald Martino’s String Quartet.” PhD dissertation. Brandeis University, 1987. DAI Vol. xlviii (October 1987), p. 773A-4A. 142 pages. Analysis of voice leading and harmonic motion in traditional and non-traditional ways in this movement. 1779. Weinberg, Henry. “Donald Martino: Trio (1959),” in Perspectives of New Music, ii, No. 1 (1963), 82–90. Analysis of the trio (violin + clarinet + piano), a 12-tone work based on hexachords. The analysis is entirely concerned with serialism in the piece. Bohuslav Martinú 1890–1959 1780. Cervinková, Blanka, et al, eds. Bohuslav Martinú (8.12.1890– 28.8.1959) Bibliograficy Katalog. Prague: Panton, 1990. ISBN 80703-9068-9. ML134.M44B6.1990. 206 pages. In English and Czech. A catalogue of the works of Martinú. Chapter I (pages 16–69) contains solo and chamber works categorized by genre and then listed chronologically. Cervinková gives details of where written, when written, dedication, scoring, duration and publishers. She locates copies of his published chamber music in Czech libraries. This is a supplement to Harry Halbreich, Bohuslav Martinú Werkverzeichnis, Dokumentation und Biographie (Zurich: Atlantis, 1968).

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1781. Perry, Richard Kent. “The Violin and Piano Sonatas of Bohuslav Martinú.” DMA dissertation. University of Illinois, 1973. UM 73–17621. DA xxxiv.2A, pp. 812–3. 126 pages. Perry analyzes in detail the form in 4 of the 5 sonatas (the first sonata existed only in manuscript in Czechoslovakia in 1972 and Perry had no acces to it then). He characterizes them as neo-classical (Sonata in D minor, 1926), jazz influenced (No. 1, 1929), French influenced (No. 2, 1931), and American (No. 3, 1944). He includes correspondence with Angel Reyes, who premiered No. 3 ( = 5) in New York in 1945. 1782. Pettway, B. Keith. “The Solo and Chamber Compositions for Flute by Bohuslav Martinu.” DMA dissertation. University of Southern Mississippi, 1980. UMI 81–09889. DAI xli.11A, p. 4537. 154 pages. Biography, bibliography, and description of the Scherzo (1929) and Sonata No. 1 (1945), both for flute + piano. For a discussion Martinú’s Sonatina for clarinet + piano see Jennings’s dissertation 1991. 1783. Cable, Susan Lee. “The Piano Trios of Bohuslav Martinú.” DA dissertation. University of Northern Colorado, 1984. UMI 84–29822. DAI xlv.10A, p. 3022. 203 pages. Cable analyzes the 4 piano trios in the context of his other works and other piano trios of the 20th century. She discusses his use of motivic cells, neo-classicism, folk music, and rhythmic drive. 1784. Kerman, Joseph. [“The Chamber Music of Bohuslav Martinú,”] in The Musical Quarterly, xxxv (1949), 301–5. An informed, intelligent review of chamber works by Martinú performed while the composer was in residence at Princeton. Kerman notes Martinú’s “real sensitivity to harmonic effect” and his “nice sense of musical color.” He finds the second cello sonata (1945) weak and the 3 madrigals (violin + viola, 1947) “sparkling [and] delightful” if unpretentious; he concentrates on the Piano Quintet (1944) as more serious and distant. Michele Mascitti c.1664–1760 1785. Dean, Robert Henry. “The Music of Michele Mascitti (ca.1664–1760): a Neapolitan Violinist in Paris.” PhD dissertation. University of Iowa, 1970. UMI 71–5733. DAI xxxi.9A, p. 4815. 2 vols. 662 pages.

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Discusses the life and works of Mascitti, which include 99 sonatas for violin + continuo, 1 divertissement for violin + continuo, 12 trio sonatas, and 4 concerti a sei (all published 1704–1738). Among the earliest sonatas published in France, they are conservative in technique and style and show Corelli’s influence. Volume II reproduces 7 solo, 3 trio sonatas, and 4 concertos. 1786. Ullom, Jack Ralph. “Michele Mascitti: An Analysis and Performing Edition of Three Sonatas for Violin and Cembalo, Opus 1, Nos. 1 and 3, and Opus 4, No. 8.” DMA dissertation. University of Oregon, 1978. DAI xxxix.10A, p. 5796. 216 pages. A study of the life and sonatas of Mascitti, who was a pupil of Corelli. Ullom considers the sonatas in the context of the Baroque solo violin sonata and the violin and bow of the time. (Mascitti’s Op. 7, 1727, are the first concerti grossi composed and published in France.) David Maslanka b.1943 1787. Keedy, Nathan Andrew. “An Analysis of David Maslanka’s Chamber Music for Saxophone.” DA dissertation. University of Northern Colorado, 2004. DAI, lxv (January 2005), p2422A. An examination of 3 chamber pieces by the American composer Maslanka in order to assist performers. The pieces are Sonata for Alto Saxophone and Piano, Song Book for Alto Saxophone and Marimba, and Mountain Roads for Saxophone Quartet. Daniel Gregory Mason 1873–1953 1788. Mason, Daniel Gregory. “Adventures in Chamber Music,” in Music in My Time and Other Reminiscences (Freeport [NY]: Books for Libraries Press, 1938; reprint 1970), 163–178. ML 410.M397A2. Mason recounts his trials in writing a violin + piano sonata and piano quartet. He describes the personal reminiscences of daily events, Philip Hale’s attack on his quartet, a lengthy interview with Paderewski, and the opinions of various others, covering the years 1907–11. Nicholas Maw b.1935 1789. Payne, Anthony Edward. “Nicholas Maw’s String Quartet,” in Tempo, No. 74 (Fall, 1985), 5–11.

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A detailed, technical analysis of themes and form. See also 83. Frederick May 1911–85 1790. Wason, Robert W. “Interval Cycles and Inversional Axes in Frederick May’s String Quartet in C Minor.” In Irish Music in the Twentieth Century, in Irish Musical Studies, vii, Gareth Cox and Axel Klein, eds. (Dublin/Portland [OR]: Four Courts Press, 2003, ISBN 1-85182-647-5), 80–93. Technical theoretic study of the modernism in May’s Quartet (1936). May wrote the piece under the influence of Alban Berg and before going to study with Egon Wellesz in Vienna. Ascanio Mayone 1570–1627 1791. Kelton, Raymond Harrison. “The Instrumental Music of Ascanio Mayone.” PhD dissertation. North Texas State University, 1961. LC Mic 61–1297. DA xxi.11, pp. 3480–1. 381 pages (DA = 389 pages). The biography of this Neapolitan composer. Kelton transcribes all his known instrumental works: 18 ensemble ricercare (a3; 1606)— important early-17th-century representatives of chamber music. Colin McPhee 1900–64 1792. Oja, Carol J. Colin McPhee: Composer in Two Worlds. Washington, D.C.: Smithsonian Institution Press, 1990. ISBN 0-8747-4732-5. xix + 353 pages. Among McPhee’s small but varied output is the Wind Octet (1928), which is discussed along with his other works and his biography. Johann Georg Anton Mederitsch ( = Gallus) 1752–1835 1793. Aigner, Theodor. “Johann G.A. Mederitsch: sein Leben und sein kammermusikalisches Schaffen mit thematischen Verzeichnis.” PhD dissertation. University of Salzburg, 1973. The catalogue of his works is published as Thematisches Verzeichnis der Werke von Johann Mederitsch detto Gallus, in Publikationen des Instituts für Musikwissenschaft der Universität Salzburg, Band 8. Munich: Musikverlag Emil Katzbichler, 1974. ML 134. M49A5. ISBN 3-87397-102-X. xxviii + 285 pages.

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Dissertation not seen. A private music teacher in Vienna and Lemberg, Mederitsch was a writer of some singspiels and operas, Catholic liturgical music, and a large number of instrumental pieces including typical chamber music of the time. He was known to Mozart, collaborated with Schikaneder, and taught Franz Grillparzer and Mozart’s son. Aigner includes Grillparzer’s description of W.A. Mozart and a letter from Mozart’s son to Moscheles on W.A. Mozart. Nicolas Karlovich Medtner 1880–1951 1794. Martin, Barrie. Nicolas Medtner: His Life and Music. Brookfield (VT): Scolar Press, 1995. ML 410.M46M37.1995. ISBN 0-85667959-4. xiv + 274 pages. Places the violin-piano sonatas and piano quintet in historical perspective, with analyses. 1795. Skvorak, David John. “Thematic Unity in Nicolas Medtner’s Works for Piano: Skazki, Sonatas, and Piano Quintet.” DMA dissertation. University of Cincinnati, 2003. ISBN 0496510695. 90 pages. An analysis of Medtner’s thematic development in 6 pieces, including his piano quintet. Arnold Mendelssohn 1855–1933 1796. Böhme, Jürgen. Arnold Mendelssohn und seine Klavier-und Kammermusik, in Europäische Hochschulschriften, Reihe XXXVI, Musikwissenschaft, Band 30. Frankfurt am Main/New York: P. Lang, 1987. ISBN 3-8204-0958-0. Originally PhD dissertation. Bonn, Rheinische Friedrich-Wilhelms-University, 1986. 362 pages. After a detailed biography of this church musician and cousin of Felix Mendelssohn, Böhme discusses Arnold Mendelssohn’s philosophy of music based on his Spinoza-influenced pantheism and how it helped him through the transition from romanticism to 20thcentury modernism. Mendelssohn gradually changed his style of composition from his early Drei Tonsätze for violin and piano Op. 24, through the early String Quartet Op. 67, to the later String Quartet Op. 83 and, outside chamber music, to the Piano Sonatine Op. 121; in all cases form and musical craft are balanced with emotion. For him, the audience must always be able to perceive the form if the music is to mean anything. Böhme analyzes each movement of each chamber piece.

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Fanny Mendelssohn Hensel 1805–47 1797. Hellwig-Unruh, Renate. “Zur Entstehung von Fanny Hensels Streichquartett in Es-Dur (1829/34): Quellen und Einflüsse,” in Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer Musikästhetik, eds, Beatrix Borchard and Monika Schwarz-Danuser (Stuttgart: J. B. Metzler, 1999), 121–40. A history of the writing of this quartet by Fanny Mendelssohn and an analysis of the sketches that lead to the finished composition. Hellwig-Unruh also compares this work with her brother’s String Quartet in E-flat major from 1829, Beethoven’s Op. 74 Quartet, and several other works by Felix. 1798. Cadenbach, Rainer. “‘Die weichliche Schreibart’, ‘Beethovens letzte Zeit’ und ‘ein gewisses Lebensprinzip’: Perspektiven auf Fanny Hensels spätes Streichquartett (1834),” in Fanny Hensel geb. Mendelssohn Bartholdy: Komponieren zwischen Geselligkeitsideal und romantischer Musikästhetik, eds, Beatrix Borchard and Monika Schwarz-Danuser (Stuttgart: J. B. Metzler, 1999), 141–64. Fanny Mendelssohn composed her string quartet in 1834 and sent a copy to her brother Felix. The latter responded by praising some things and criticizing concepts of form and modulation. Fanny, in turn, pointed out to Felix that it was not the composing that was at fault but her situation as a woman and a wife and mother. Cadenbach publishes here the exchange of letters between the siblings concerning such matters with careful commentary. He notes that Fanny, in order to avoid the pitfall of many contemporary women and parttime composers, joins the “New German” School stemming from the late Beethoven quartets. Fanny believes content governs form, while Felix believes the opposite. Cadenbach explains the relationship among quartets by Felix, Fanny, Beethoven, and Friedrich Kuhlau, and he brings the string quartets and biography of Hermann Hirschbach into the discussion—a dynamic proponent of the “New German” aesthetic. 1799. Brickman, Scott Thomas. “Analysis and Interpretation of Fanny Hensel’s Italien, Notturno and Piano Trio.” PhD dissertation. Brandeis University, 1996. DAI Vol. lvii (July 1996), 20A. 102 pages. After a study of the traditional analyses of Fanny Mendelssohn’s works based on masculine attitudes, including the view that she was an adjunct of her brother Felix, Brickman shows that she was her own person and was influenced by more progressive styles.

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1800. Cusick, Suzanne Gertrude. “Feminist Theory, Music Theory, and the Mind/Body Problem,” in Perspectives of New Music, xxxii (1994), 8–27. Considers Fanny Mendelssohn’s Piano Trio Op. 11 in E minor. Felix Mendelssohn 1809–47 1801. Horton, John. The Chamber Music of Mendelssohn, in The Musical Pilgrim. London: Geoffrey Cumberlege of Oxford University Press, 1946. MT 145.M5H6. Reprint Mendelssohn Chamber Music. London: BBC/Seattle: University of Washington Press, 1972. MT 145.M5H6. 1972. 65 pages, 40 examples. An amazingly thorough treatment of Mendelssohn’s chamber music for such short space. It gives the genesis and first performances of the music and sympathetic criticism of the individual pieces (sonatas, trios, quartets, quintets, sextet, and octet). For a non-technical introduction to Mendelssohn’s chamber music, see Andrew Porter’s essay in Alec Robertson, ed. Chamber Music 212. 1802. McDonald, John Allen. “The Chamber Music of Felix MendelssohnBartholdy.” PhD dissertation. Northwestern University, 1970. UM 71–1916. DA xxxi.8A, p. 4205. 2 vols. I: vii + 333 pages; II: 159 pages of music. An analysis of 57 chamber works, many of which survive only in manuscript, and a thematic catalogue. McDonald divides the chamber music into 4 groups: ensemble works with piano, string quartets, solo instrument + piano, and works for larger string ensembles. He describes each piece. He also includes 140 reviews of Mendelssohn’s chamber music taken from periodicals 1824–49 arranged by year, a survey of fugues for string quartet, and transcriptions and facsimiles. For a simple overview of Mendelssohn’s chamber music, see R. Larry Todd’s “The Chamber Music of Mendelssohn” in 215. 1803. Wilson, Conrad. Notes on Mendelssohn: 20 Crucial Works. Grand Rapids (MI): William B. Eerdmans Pub., 2005. ISBN: 0802829953. xii + 120 pages. This is a very short historical discussion of each of 20 works by Mendelssohn, including the following chamber music: Quartet No. 2 in f minor for piano and strings, Op. 2; Octet in E flat major for strings, Op. 20; String Quartet in A minor, Op. 13; String Quartet in E flat major, Op. 12; Sonata for violin and piano in F major; String

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Quartet in E flat major, Op. 44, No. 3; Piano Trio in d minor, Op. 49; String Quintet No. 2 in B flat major, Op. 87; and String Quartet in F minor, Op. 80. A few recordings for each piece are discussed. Wilson includes a brief bibliography and glossary. This book is designed for the novice. 1804. Krummacher, Friedhelm. Mendelssohn – der Komponist: Studien zur Kammermusik für Streicher. Munich: Wilhelm Fink, 1978. ML 410. M5K8. ISBN 3-7705-1431-9. 612 pages, 160 examples, facsimiles of Mendelssohn’s manuscripts and transcriptions. Habilitation dissertation. Erlangen-Nürnberg University, 1972. Huge, scholarly study of Mendelssohn’s chamber music. It is verbose, but contains lots of information and detailed treatment of specific problems. The book is in 3 parts: Part I: chamber music in Mendelssohn’s total work, origins of the chamber music, autograph sketches and the compositional process; Part II: themes and how he conceives them and develops them in the different movements; Part III: the form of the movements. At the end, Krummacher assesses Mendelssohn historically and aesthetically, especially in Germany where anti-Semitism clouded the German mind. He challenges Eric Werner’s hypothesis that a re-evaluation of Mendelssohn will come from new and more careful biographical information and a new assessment of his early works; rather, that re-evaluation must come from a better understanding of the mature masterworks. The chamber music provides such mature masterworks. It must be evaluated not only in terms of historical aesthetics but also in terms of presentday aesthetics. Krummacher notes the peculiarities of Mendelssohn, which, insofar as he is consistent with them, form the basis of his own style; there are no absolutes in aesthetics or in the criticism of his music. 1805. Todd, Ralph Larry. “The Instrumental Music of Felix MendelssohnBartholdy: Selected Studies Based on Primary Sources.” PhD dissertation. Yale University, 1979. DAI xl.6A, p. 2978. 558 pages. Todd analyzes in detail Mendelssohn’s workbook 1819–1821 with composition exercises written for C.F. Zelter, and studies among other genres the string octet and string quintet. He includes much previously unpublished documentation. The chamber music is more traditional than other genres. 1806. Filosa, Albert James, Jr. “The Early Symphonies and Chamber Music of Felix Mendelssohn Bartholdy.” PhD dissertation. Yale University, 1970. RILM 70–1944. UM 71–16236. DA xxxi.12A, p. 6646. i + 195 pages.

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Filosa analyzes works written by Mendelssohn between the ages of 11 and 16, considers them as music and as products of a prodigy, and discusses Mendelssohn’s family background and musical training. He looks for early signs of the characteristics of the composer’s later musical works. 1807. Krummacher, Friedhelm. “Zwischen Bürgerhaus und Konzertsaal: Mendelssohns Kammermusik in Leipzig.” In Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig: erstes Mendelssohn-Fest; ix. Internationals Gewandhaus-Symposium 1997 anlässlich des 150 Todestages von Felix Mendelssohn Bartholdy, Wilhelm Seidel, ed. (Leipzig: Edition Peters, 2004, ISBN 3369002752), 221–40. Krummacher offers an explanation of the hiatus by Mendelssohn in the composition of chamber music between 1829 and 1837 and what makes his later quartets, trios and sonatas mature works. His later works were concerned with balance, economy, variability, and combination, which Krummacher then demonstrates. Mendelssohn worked his way through the influence of Beethoven and Bach and through the dichotomy between private and public music to find himself, which he did when he settled in Leipzig. 1808. Bergmann, Anneliese. “Gehört, getanzt, geliebt: Mendelssohns Canzonetta aus dem 2. Satz des Streichquartetts Es-Dur Op. 12,” in Musik und Bildung, xxv (July–August 1993), 20–5. 1809. Krummacher, Friedhelm. “Mendelssohn’s Late Chamber Music: Some Autograph Sources Recovered,” in Mendelssohn and Schumann: Essays on their Music and its Context, eds, J. W. Finson and R. L. Todd (Durham [NC]: Duke University Press, 1984), 71–84. An analysis of Mendelssohn autograph manuscripts in Cracow that were thought to be lost after World War II. The pieces considered are his Op. 80 (F minor Quartet) and Op. 87 (B-flat major Quintet), with mention of 2 of the 4 movements of Op. 81 (which is a pastiche of movements from different periods of Mendelssohn’s creative life). Krummacher is concerned with the discrepancies between the posthumously printed version of Op. 87 and the manuscript for the finale—both of which are unsatisfactory and therefore explain why Mendelssohn did not publish it himself. The manuscript for Op. 80, however, shows a completed work that would have been published by the composer himself had he not suddenly died. 1810. Vitercik, Gregory John. The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style. Philadelphia: Gordon and Breach, 1992. ISBN 2-88124-536-6 or 2-88124-544-7. ix + 335 pages.

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1811. Kohlhase, Hans. “Studien zur Form in den Streichquartetten von Felix Mendelssohn Bartholdy,” in Hamburger Jahrbuch für Musikwissenschaft, ii (1977), 75–104. Kohlhase dismisses Wilcke’s dissertation 1812 as incomplete and McDonald’s dissertation 1802 as superficial. He considers cyclic and sonata forms in the movements of the string quartets (21 of 32 are in sonata form). He produces an exhaustive, detailed, technical analysis of form for the scholar. Kohlhasae notes that cyclic form—use of the same motives in more than 1 movement—is found in Mendelssohn’s earliest quartets, and then abandoned. 1812. Wilcke, Gerhard. Tonalität und Modulation im Streichquartett Mendelssohns und Schumanns. Leipzig: Carl Merseburger, 1933. ML 1160.W66.T7.1933. 87 pages. This is a highly technical, theoretical treatise on various aspects of tonality and modulation as evinced in the 31movements of Schumann’s and Mendelssohn’s quartets. It is a methodical presentation, with graphs and statistics, of the problems of tonal organization in specific works and of chromaticism and chromatic modulation in an emphatically tonal style. Wilcke studies modulation in the music itself and then in light of theories by Dehn, Tiersch, Wienand, Richter, Sering, Schmitz, Ernst Kurth, Hauptmann, Jadassohn, Helm, Louis and Thuille, Weigl, and Tenschert. He shows how, in most cases, the rules of these theorists do not apply to Mendelssohn and Schumann. He agrees with Schenker that chromaticism strengthens tonality and is not a non-tonal intrusion into tonal music. Wilcke assumes the reader knows the quartets; his prime interest is in the theory, not the music. 1813. Krummacher, Friedhelm. “Epigones of an Epigone? On the Historical Consequences of Mendelssohn’s String Quartets,” in The Mendelssohns: Their Music in History, eds, J.M. Cooper and J. Brandi (Oxford, 1998). See also 264. 1814. Golomb, Uri. “Mendelssohn’s Creative Response to Late Beethoven: Polyphony and Thematic Identity in Mendelssohn’s Quartet in A-major Op. 13,” in Ad Parnassum, iv, No. 7 (April 2006), 101–19. A comparison of the first movement of Mendelssohn’s Op. 13 Quartet and that of Beethoven’s Op. 132 Quartet. While there are obvious similarities, there are obvious differences as well. Mendelssohn learned from Beethoven but had different goals. The drama in Op. 132 is achieved partially by spurts of thematic ideas, whereas

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Mendelssohn’s Op. 13 has complete themes, and the obscurity of form in Beethoven is replaced by a clarity of form in Mendelssohn. 1815. Jessulat, Ariane. “Mendelssohns Beethoven-Rezeption als Beispiel musikalischer Zitiertechnik,” in Zeitschrift der deutschen Gesellschaft für Musiktheorie, ii (2005). A discussion of Mendelssohn’s quotation of Beethoven’s String Quartet Op. 132 in his String Quartet Op. 13. 1816. Schuhmacher, Gerhard. “Zwischen Autograph und Erstveröffentlichung: zu Mendelssohns Kompositionsweise, dargestellt an den Streichquartetten op. 44,” in Beiträge zur Musikwissenschaft, xv (1973), 253–61. Reprinted in Felix Mendelssohn Bartholdy, ed. Gerhard Schuhmacher, in Wege der Forschung, Band 494 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1982), 263–76. A comparison of the manuscript copy of the 3 Op. 44 string quartets with the published version. In the 2 years between the premiers of the quartets and their publication, Mendelssohn must have made some corrections based on what he heard (according to comments he made in letters to the violinist Ferdinand David); he also found careless mistakes by the publisher in the proofs. 1817. Cadenbach, Rainer. “Zum gattungsgeschichtlichen Ort von Mendelssohns letztem Streichquartett,” in Felix Mendelssohn Bartholdy Kongreß-Bericht Berlin 1994, ed. Christian Martin Schmidt (Wiesbaden: Breitkopf & Härtel, 1997), 209–31. Cadenbach considers Mendelssohn’s Op. 80 String Quartet in F minor from 3 standpoints: as an unusually late treatment of the early classical quartet, as the unpolished result of an emotional outburst after the death of his sister Fanny, and as a model of a new kind of biographical quartet that resolves the tension between direct expression and formal resolution (following from late Beethoven). This last point means that the quartet cannot be analyzed on the basis of earlier quartets but on a new set of criteria. Cadenbach’s approach to Op. 80 allows for an interpretation that respects the work rather than treats it as an aberration. 1818. Dinglinger, Wolfgang. “Bemerkungen zur Sonate für Violoncello und Klavier op. 58.” In Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig: erstes Mendelssohn-Fest; ix. Internationals Gewandhaus-Symposium 1997 anlässlich des 150 Todestages von Felix Mendelssohn Bartholdy, Wilhelm Seidel, ed. (Leipzig: Edition Peters, 2004, ISBN 3369002752), 241–7. The third, adagio movement of this sonata is modeled after the arpeggios in Bach’s “Chromatic Fantasy and Fugue.” The original

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dedication of the sonata seems to have been to Mendelssohn’s brother, Paul, a cellist, rather than to the Russian Count Matthieu Wielhorsky, whose name appears in the print. 1819. Molnár, Antal. “Die beiden Klaviertrios in d-Moll von Schumann (op. 63) und Mendelssohn (op. 49): eine Stiluntersuchung,” in Sammelbände der Robert-Schumann-Gesellschaft, i (Leipzig: 1961), 79–85. Molnár compares the 2 trios in tonal ethos, melody, harmony, treatment of theme, and form. Mendelssohn’s (1838) came first and borrows from Mozart; Schumann’s (1847) borrows from Mendelssohn. Mendelssohn’s is found to be superficial and melancholy, while Schumann’s is deep and dark. This is designed for the educated layperson. 1820. Niemöller, Klaus Wolfgang. “Gattungstradition und neue Ausdrucksdramaturgie in den Klaviertrios von Felix Mendelssohn-Bartholdy.” In Dem Stolz und der Zierde unserer Stadt: Felix Mendelssohn Bartholdy und Leipzig: erstes Mendelssohn-Fest; ix. Internationals GewandhausSymposium 1997 anlässlich des 150 Todestages von Felix Mendelssohn Bartholdy, Wilhelm Seidel, ed. (Leipzig: Edition Peters, 2004. ISBN 3369002752), 261–72. A subjective analysis of the 2 trios in terms of the expression of contrasting motives, rhythms, and scoring. 1821. Whittaker, W. Gillies. “Mendelssohn’s Octet,” in The Musical Times, lxxiv (1933), 322–5, 427–9. Whittaker regards chamber music as in general too intimate, and too introspective for Mendelssohn. He gives a detailed analysis of the octet, presented mostly measure by measure. 1822. Gerlach, Reinhard. “Mendelssohns schöpferische Erinnerung der ‘Jugendzeit’: die Beziehungen zwischen dem Violinkonzert, op. 64, und dem Oktett für Streicher, op. 20,” in Die Musikforschung, xxv (1972), 142–52. Reprinted in Felix Mendelssohn Bartholdy, ed. Gerhard Schuhmacher, in Wege der Forschung, Band 494 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1982), 248–62. A brief comparison between segments of the octet, sketches for the violin concerto, and the complete concerto of 20 years later. Gerlach points out that originally there were some melodic elements in common, and that the third movement of the concerto is aesthetically related to the third movement of the octet. 1823. Chittum, Donald. “Einige Beobachtungen zur Ton-und Intervallstruktur in Mendelssohns Oktett Op. 20,” in Felix Mendelssohn Bartholdy, ed.

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Gerhard Schuhmacher, in Wege der Forschung, Band 494 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1982), 277–304. A theoretical analysis of the octet based on intervallic structure and how that affects themes, harmonies, and tonality. 1824. Pound, Gomer. “Mendelssohn and the Baermanns,” in Woodwind World, ii (May 1958), 4. A brief comment on the dedication of Concertpiece No. 1, Op. 113, in F minor by Mendelssohn to Baermann, which shows close ties between the composer and the father-and-son clarinet virtuosos. Martin-Joseph Mengal 1784–1851 1825. Andrews, Ralph Edwin, Jr. “The Woodwind Quintets of MartinJoseph Mengal.” PhD dissertation. Florida State University, 1970. ADD, 1971–12, page 267. v + 305 pages. Olivier Messiaen 1908–92 1826. Rischin, Rebecca. For the End of Time: The Story of the Messiaen Quartet. Ithaca (NY): Cornell University Press, 2003. ISBN 0801441366. xii + 167 pages. Updated ed., 2006, ISBN 0801472970. xv + 175 pages. Rischin gives an intimate portrait of the 4 musicians (Messiaen, Etienne Pasquier, Jean Le Boulaire, and Henri Akoka) who first performed the quartet in the concentration camp in 1941, a discussion of the events before and after they were imprisoned in the camp that led up to that performance, descriptions of life in the camp, and a history of the musicians and composition after its premier. Rischin has interviewed 2 of the musicians involved and the families of all of them and has also spoken with other eye/ear witnesses from the camp and those who were present at the Paris premier. The updated edition includes information elicited by readers of the first edition who had material to add to it. Some long-held views, propagated by Messiaen himself, are refuted. 1827. Bernstein, David Stephen. “Messiaen’s Quatuor pour le Fin du Temps: An Analysis based upon Messiaen’s Theory of Rhythm and his Use of Modes of Limited Transposition.” DMA dissertation. Indiana University, 1974. RILM 74–633. 133 pages. Bernstein uses this famous piece for violin + clarinet + cello + piano to test Messiaen’s theories of rhythm and modes as stated in his La

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Technique de mon Langue Musical (Paris: Alphonse Leduc, 1944), trl. J. Satterfield, The Technique of My Musical Language (Paris: Leduc, 1956), MT 6.M4482. He analyzes each of the 8 movements of the quartet with regard to pitch and rhythm and assesses the piece’s contribution to contemporary music. 1828. Ross, Mark Alan. “The Perception of Multitonal Levels in Olivier Messiaen’s Quatuor pour la Fin du Temps and Selected Vocal Compositions.” PhD dissertation. University of Cincinnati, 1977. DAI xxxviii.9A, p. 5117. 253 pages. An analysis of the quartet in light of Messiaen’s own theoretical principles as stated in his La Technique de mon Langue Musical. Ross considers the psychological relationship of colors and sounds especially in movement 2 of the quartet. This is a detailed, technical analysis of a much talked-about work. Giacomo Meyerbeer 1791–1864 1829. Kloecker, Dieter. “Meyerbeers wiederentdecktes und für Heinrich Baermann entstandenes Klarinettenquintett,” in Tibia, Vol. xvii (1992), 178–81. Nikolai Yakovlevitch Miaskovsky 1881–1950 1830. Nikolaeva, N. Trinadtsatyi Kvartet, in V Pomosh Slushteliu Muzyki N. IA. Miaskovskogo. Moscow: Muzyka, 1953. MT 145.M6N5. 43 pages. In Russian. Nikolaeva gives a biography of Miaskovsky and a list of his overall works, followed by a general description of the thirteenth string quartet. This book is more about moods than technical features. Darius Milhaud 1892–1974 For a catalogue of Milhaud’s works including chamber pieces, see Madeleine Milhaud, Catalogue des Oeuvres de Darius Milhaud (Geneva/Paris: Slatkine, 1982), 251 pages. ML 134.M55M5.1982. 1831. Mason, Colin. “The Chamber Music of Milhaud,” in The Musical Quarterly, xliii (1957), 326–41. Mason provides historical data about Milhaud and a few comments on the styles of his 18 string quartets: an enormous output, often dull to listen to but always well written and interesting to play.

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He makes a comparison with Hindemith. He also touches on string quintets and trios and sonatas for piano and 1 soloist (violin, clarinet, oboe). 1832. Cherry, Paul Wyman. “The String Quartets of Darius Milhaud.” PhD dissertation. University of Colorado, 1980. UMI 81–03081. DAI xli.8A, p. 3312. 536 pages. After completing his eighteenth string quartet in 1951, Milhaud claimed that he had no system of composition and his works demonstrated no progression or growth. Cherry shows that Milhaud did indeed have systems, which he used regularly in his quartets and, though the progression is not in a straight line, there is growth. He includes background on musical aesthetics in France, analysis of each of the 18 quartets, and an extensive bibliography. 1833. Ragot, Marie-Laure. “Le ‘Troisieme quatuor à cordes avec Chant’ de Darius Milhaud.” In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 247–58. A detailed analysis of the quartet (1916) dedicated to the memory of a poet-friend who was killed in World War I. Milhaud used a singer, just as Schonbereg did in 1908, but he did not know Schoenberg’s piece. The text is included. 1834. McCarthy, Peter Joseph. “The Sonatas of Darius Milhaud.” PhD dissertation. Catholic University, 1972. UM 73–4353. DA xxxiii.8A, pp. 4458–9. 147 pages. The abstract is unclear whether solo keyboard only or ensemble sonatas are being discussed. McCarthy divides the sonatas into 3 chronological groups: 1911–27, 1931–45, and after 1949, and finds specific stylistic differences among the groups. The early ones are dramatic and tonal, the middle ones are neo-Baroque and polytonal, and the late ones are lighter, shorter, less traditional, and frequently modal. 1835. Laughton, John Charles. “The Woodwind Music of Darius Milhaud.” DMA dissertation. University of Iowa, 1980. UMI 81–14323. DAI xlii.1A, p. 14. 86 pages. Laughton supplies a complete list of the woodwind music with scoring, date and place of composition, publisher, duration, movement titles, discography, and historical information. He analyzes Sonata Op. 47 for Flute + Oboe + Clarinet + Piano (1918), Sonatina Op.

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100 for Clarinet + Piano (1927), Suite Op. 157b for Violin + Clarinet + Piano (1936), and 2 non-chamber pieces. See Nancy MacKenzie’s “Selected Clarinet Solo and Chamber Music of Darius Milhaud” 2571. 1836. Petrella, Robert Louis. “The Solo and Chamber Music for Clarinet by Darius Milhaud.” DMA dissertation. University of Maryland, 1979. UMI 80–16728. DAI xli.2A, p. 455. 105 pages. Petrella contrasts the Sonatine Op. 100 for clarinet + piano with the clarinet concerto Op. 230, and discusses the clarinet as part of the woodwind ensembles of the 1918 sonata for flute + oboe + clarinet + piano and the 1958 Divertissement for woodwind quintet. Other pieces for clarinet are also considered. Petrella provides historical background for each work and an analysis of tonality, form, thematic treatment, rhythm, and clarinet technique. For a discussion of Milhaud’s Duo Concertante for clarinet + piano see Jennings’s dissertation 1991. 1837. Helm, Everett. “Milhaud: xiv + xv = Octet,” in Melos, xxii (1955), 71–5. Helm points out the pros and cons of Milhaud’s spontaneous outpouring of easy-flowing music, which is fresh but sometimes also superficial. He describes motives, form, and the counterpoint of these 2 quartets, which can also be performed as an octet (1949). He finds quartet No. 14 successful, quartet No. 15 less so, and the octet as sounding like 2 quartets played simultaneously. Bernhard Molique 1802–69 1838. Schröter, Fritz. Bernhard Molique und seine Instrumentalkompositionen: seine künstlerische und historische Persönlichkeit: ein Beitrag zur Geschichte der Instrumentalmusik des 19. Jahrhunderts, mit einem Verzeichnis aller nachweisbaren Werke Molique’s. Stuttgart: Berthold und Schwerdtner, 1923. ML 410.M687S3. ix + 125 pages. This is a biography and analysis of the music of Molique, an important German violinist and composer, and a pupil of Spohr, who was also active in London. Among his compositions are string quartets, violin duets, a flute quintet, a piano quartet, piano trios, violin + piano sonatas, and fugues (1 a4 and 6 a3). Schröter includes some photos, musical examples, a catalogue of his works, a bibliography of newspaper criticism of Molique, a list of his students, letters to and from Molique by important musicians, and a concert calendar.

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Jean-Joseph Cassanéa de Mondonville 1711–72 1839. Borroff, Edith. “The Instrumental Works of Jean-Joseph Cassanéa de Mondonville.” PhD dissertation. University of Michigan, 1959. LC mic 59–2099. DA xix.12, pp. 3319–20. 2 vols. I: 351 pages; II: 55 pages of music. Borroff studies in detail Mondonville’s Trio Sonatas Op. 2 (1734), Sonatas for violin with continuo, Opp. 1 and 4 (1733 and 1738), and his Sonatas for harpsichord with accompaniment of violin Opp. 3 and 5 (1734 and 1748). The last is among the first sonatas for violin and obligato keyboard (completely written-out keyboard). Bassols Xavier Montsalvatge 1912–2002 1840. Klugherz, Laura Jean. “A Performer’s Analysis of Three Works for Violin and Piano by Contemporary Spanish Composers.” DMA dissertation. University of Texas, 1981. UMI 81–19244. DAI xlii.3A, p. 909. Klugherz analyzes the style, compositional procedures, and violin technique of Rodrigo’s Sonata Pimpante (1966), Turina’s Movimiento (1978), and Montsalvatge’s Parafrasis Concertante (1972). This dissertation includes a biography. Oskar Morawetz 1917–2007 1841. Sallis, Friedemann. “Deconstructing the Local: The Aesthetic Space and Geographic Place of Oskar Morawetz’s String Quartet No. 5: ‘A tribute to Wolfgang Amadeus Mozart’ (1991).” Canadian University Music Review/Revue de musique des universites canadiennes, xxiv (2003), 7–29. Sallis offers a discussion of Morawetz’s String Quartet No. 5 in the context of national versus international music, and local or folk music versus the assumed central canon. Within this context, a brief biography considers the Czech-born composer and his forced exile in an undefined Canadian culture. His music remains middle-European music of the early-20th century. A case in point is Morawetz’s 1movement fifth quartet (1991), which utilizes 3 themes from Mozart’s requiem and which Sallis compares to the style of Schonberg. Ignaz Moscheles 1794–1870 1842. Marsh, Jerrode Kathleen. “Style and Structure in the Chamber Music of Ignaz Moscheles.” DMA dissertation. University of Texas at Austin, 2000. DAI, lxi (February 2001), p2985A. x + 372 pages.

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An analysis of the forms used in the chamber music of Moscheles, which, not surprisingly, always use the piano. Most of the pieces are duos, but there is also a grand sextet, a grand septet, and 2 piano trios. Marsh pays some attention to improvisational and folk aspects of the pieces. There is a biography and historical background to the pieces. Giovanni Mossi c.1680–1742 1843. Sgaria, Giovanni. “Giovanni Mossi, Musicista Romano del primo Settecento,” in Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695–1764), ed. Albert Dunning (Lucca: Libreria Musicale Italiana, 1995), 1113–67. Sgaria provides a study of the life and works of Giovanni Mossi, a violinist-composer who flourished in the years immediately after the death of Corelli. He wrote several collections of solo violin sonatas with continuo, or with violoncello and continuo. See Sgaria, “Giovanni Mossi (c.1680–1742): Vita e Concerti: uno Sguardo alla vita musicali romana nel periodo postcorelliano.” 2 vols. Laureat Thesis. University of Pavia, 1992. Wolfgang Amadeus Mozart 1756–91 For a catalogue of Mozart’s compositions with chamber music included, see Ludwig Ritter von Köchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th ed. Wiesbaden: Breitkopf & Härtel, 1964), cxliii + 1024 pages. ML 134.M9K55.1964. Also useful for identifying themes from Mozart’s chamber music is George R. Hill and Murray Gould, A Thematic Locator for Mozart’s Works, as Listed in Koechel’s Chronologisch-thematisches Verzeichnis-Sixth Edition, in Music Indexes and Bibliographies, No. 1 (Hackensack [New Jersey]: Joseph Boonin, Inc., 1970), vii + 76 pages. ML 134.M9H54.1970. For a bibliography of writings about Mozart’s chamber music, see Rudolph Angermüller and Otto Schneider, eds, Mozart-Bibliographie (bis 1970), in Mozart-Jahrbuch 1975. ISBN 3-7618-0516-0. vii + 363 pages. This has been updated by Angermüller and Johanna Senigl. Mozart-Bibliographie, 1986–1991: mit Nachträgen zur Mozart-bibliographie bis 1985. Kassel/New York: Bärenreiter, 1992. 332 pages. For a non-technical introduction to Mozart’s chamber music, see Eric Blom’s essay in Alec Robertson, ed. Chamber Music 212. 1844. Wiese, Walter. Mozarts Kammermusik. Winterthur: Amadeus, 2001. ISBN 3-905049856. 320 pages.

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Wiese offers a fine presentation of the data about Mozart’s chamber music for duet to quintets, especially valuable to the program note annotator. He starts with a long introduction to Mozart as an artist with contributions by Goethe, Busoni, and Menuhin, and comments by other illuminaries punctuate the following chapters (Edwin Fischer, Henze, George Bernard Shaw, and Dvorák). In addition, there are poems by minor personalities about the pieces. Wiese includes winds and piano as well as strings. There is a useful bibliography, chronological list of Mozart’s chamber music, an alphabetical list of musicians important for chamber music, and an index. 1845. King, Alexander Hyatt. Mozart’s Chamber Music, in BBC Music Guides, No. 4. London: BBC, 1968/Seattle: University of Washington Press, 1969. MT 145.M7K55.1969. 68 pages, 18 examples. A non-technical overview of the sonatas for 2 instruments, string quartets, piano + string combinations, and some other genres of Mozart’s chamber music. 1846. Keller, Hans. “The Chamber Music,” in H.C. Robbins Landon and Donald Mitchell, The Mozart Companion (New York: Oxford University, 1956; reprint New York: W.W. Norton, 1969), 90–137. ML 410.M9L24.1956. This is mostly an analysis of the string quartets, especially K. 387, based on the theories of Reti, Schenker and Schoenberg as synthesized by Keller and directed toward the chamber music performer. Keller also discusses briefly the string quintets, string trio and duos, and works involving flute, oboe and clarinet with strings. He believes the purpose of analysis is to find the unity of a work in its diversity; following Freud (Interpretation of Dreams) he seeks the latent unity behind the manifest diversity of the chamber piece as it unfolds. This is highly subjective (for example, he dismisses the early Mozart string quartets as “quite abominable” and accepted by “our age’s unmusical musicological snobbery”). Keller gives performance suggestions based on the nature of motives that are only fully explained in other contexts: “all great music is latently monothematic and, if in more than 1 movement, cyclic.” This is an interesting, penetrating analysis that is thought-provoking even if controversial; a little forbidding at first sight, it is not beyond the comprehension of serious students and more advanced performers. 1847. Keller, Hans. “Mozart – The Revolutionary Chamber Musician,” in The Musical Times, cxxii (1981), 465–8. Because Mozart has been unequalled in the sureness of his ear, some of his innovations came out so perfect that he left no room for real

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followers: for example, the piano quartet K. 478 and the viola quintets, though the latter had Mendelssohn for a successor. Keller points to the [almost] unique use of mutes in K. 516. A revolutionary musician, however, must have followers, so Keller points out structural innovations of Mozart’s that led to later things: for example, the key and themes interacting in inverse order for the second “theme” of the first movement of K. 516. 1848. Landon, H. C. Robbins, ed. The Mozart Compendium: A Guide to Mozart’s Life and Music. London: Thames and Hudson, 1990. ML410.M9M6995.1990. ISBN 0-0287-1321-4. 452 pages. This book includes several essays on Mozart’s chamber music: “The String Sonatas, Duos, Trios” (John Arthur and Carl Schacher); “Chamber Music: Piano and Strings” (Derek Carew); “Harmoniemusik and Other Works for Multiple Wind Instruments” (Roger Hellyer); “Wind Instruments with Strings and Piano” (Roger Hellyer); and “Strings Alone” (Alec Hyatt King). 1849. Sjöqvist, Gunnar. “Mozarts Kammarmusik för Stråkar,” in Musikrevy, xlvi (1991), 63–8. This is a brief discussion of Mozart’s chamber music for strings only, designed for Swedish readers who have minimal background knowledge of the composer. 1850. Webster, James. “The Scoring of Mozart’s Chamber Music for Strings,” in Music in the Classic Period: Essays in Honor of Barry S. Brook, ed. Allan W. Atlas (New York: Pendragon Press, 1985), 259–96. Webster’s essay is essential for anyone who wishes to perform Mozart’s early chamber music and is uncertain whether it is orchestral or chamber music. Webster studies the specific locale and situation for which Salzburg musicians composed serenades and divertimenti and concludes that in Salzburg (besides Mozart there were also Leopold Mozart and Michael Haydn), serenades were orchestral, and divertimenti after K. 131 were solistic (this includes string quartets K. 136–8). Webster also tackles the question of how the “basso” and “viole” lines are to be played. The former is a single instrument, either violoncello or (less likely) string bass; the latter, however, is a sign of the inexactitude of 18th-century descriptions since evidence points to a single viola actually being used by Mozart. At the end, Webster lists complete multi-movement instrumental music by Mozart from K. 32 to K. 614 (excluding symphonies) with the data necessary to determine scorings. Throughout, Webster cautions that what might be true for Vienna or for Haydn is not necessarily true for Salzburg and early Mozart.

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See Siegmund-Schultze’s study in 675, pages 311–24, on how Mozart conceived of the term chamber music. 1851. Kraus, Joseph Charles. “Contexts for Chromatic Third Relations in the Late String Quartets and Quintets of Wolfgang Amadeus Mozart.” PhD dissertation. University of Rochester, Eastman School of Music, 1987. DAI Vol. xlvii (May 1987), pages 3903A-4A. 334 pages. A Schenkerian analysis of the altered mediant and submediant triads in Mozart’s late quartets and quintets. 1852. Henry, Jacques. Mozart the Freemason: the Masonic Influence on his Musical Genius. Aix-en-Provence: Editions ALINEA, 1991. Trl. from French by Jack Cain. Rochester (VT): Inner Traditions, 2006. ISBN: 1594771286. xvii + 141 pages. Henry provides a simple, non-scholarly discussion of the effect of Mozart’s becoming a Mason on selected compositions. These include: first period, 1785 (Quartet in A major K. 464; Quartet in C major K. 465); second period, 1788 (Divertimento in E flat major, “Puchberg Trio” K. 563); third period, 1791 (Quintet for strings in D major K. 593; and Quintet for strings in E flat major K. 614). String quartets 1853. Dunhill, Thomas F. Mozart’s String Quartets, in The Musical Pilgrim. London: Geoffrey Cumberlege for Oxford University Press, 1927. 49 pages. Reprint Westport (Connecticut): Greenwood Press, 1970. MT 145.M7D9. 44 pages, 137 examples. Brief musical descriptions of what the author believes to be the salient moments in each of the string quartets. There is meagre historical information. 1854. King, Alexander Hyatt. “Mozart’s String Quartets,” in The Listener, xxxiv (1945), 633. King traces briefly but cogently the development of Mozart’s quartet writing from his first quartet in 1770, K. 80, which shows Italian influence; he shows the gradual influence of Haydn with, among other things, the actual copying of Haydn’s Op. 20 No. 4 finale for the slow movement of K. 168, the addition of minuets to his second set of quartets K. 168–173, and the use of a final fugue in K. 173. But the influence of Op. 33 on Mozart took longer to digest: 1782– 1785 – the reconciliation of Mozart’s Italian training and vocal instincts with Haydn’s instrumental techniques and “Germanic tone.” The last 3 quartets seem to be a reversion to the earlier quartets, but

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there are great movements here, too. This is a well-written, sensible, brief introduction to the Mozart quartets for anyone. See Finscher’s “Mozarts erstes Streichquartett: Lodi, 15. Marz 1770” 190. 1855. Krummacher, Friedhelm. “Vielfalt und Vermittlung: Versuch über Mozarts Quartettsatz,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, Band 12. (Vienna: Doblinger, 2006, ISBN: 3900695814), 62–74. Krummacher chooses the first movements of 3 Mozart quartets (K. 172, K. 428, and K. 499) and compares them. An understanding of how Mozart regarded the genre depends on looking at them all as 1 unit. 1856. Seiffert, Wolf-Dieter. Mozarts frühe Streichquartett, in Studien zur Musik, Band 11. Munich: Wilhelm Fink, 1992. ISBN 3-7705-2831-X. MT145.M7S45.1992. ix + 344 pages. Originally PhD dissertation. Munich, Ludwig-Maximilians-Universität, 1990. Seiffert provides a survey of the sources of Mozart’s 16 early string quartets and formal, motivic and harmonic analyses of their various movements. He then compares these quartets to Mozart’s symphonies and divertimentos, as well as to the works of Giovanni Battista Sammartini, Luigi Boccherini, Johann Michael Haydn, and Joseph Haydn. A final chapter deals with the instruments for which the quartets were written and struggles with the terms “viole,” “violini,” “viola,” and “basso” or “bassi.” This is a thorough, methodical dissertation. 1857. Orchard, Joseph Thomas. “Rhetoric in the String Quartets of W. A. Mozart: an Examination of Form, Topic, and Figure in a LateEighteenth-Century Instrumental Repertoire.” PhD dissertation. Rutgers University, 1999. DAI Vol. lx (January 2000), p. 2284A. 378 pages. Special attention to K. 464. 1858. Seiffert, Wolf-Dieter. “‘Absatzformelm’ in den frühen Streichquartetten Mozarts,” in Dietrich Berke and Harald Heckmann, eds, Festschrift Wolfgang Rehm zum 60. Geburtstag am 3. September 1989 (Kassel: Bärenreiter, 1989), 128–38. Seiffert pursues a theory that distinguishes between the sonata movements of the early Mozart string quartets and those of the contemporaneous symphonies of Mozart (1770–73). Using the subjective suggestion of Mozart’s contemporary Heinrich Christoph

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Koch (1749–1816) that caesuras are more common in quartets, Seiffert actually classifies such caesuras, counts them, and demonstrates that in general Koch is correct. This is important in showing that, as a young teenager, Mozart already conceived of the quartet as having its own, distinct genre. 1859. Abert, Hermann. “Sechs unter Mozarts Namen neu aufgefundene Streichquartette,” in Mozart-Jahrbuch, iii (1929), 9–58. Abert attempts to verify these 6 quartets that once belonged to Johann Anton André, who published Mozart’s “Nachlass.” The 6 are Italian quartets in 2 or 3 movements, which would make them similar to Mozart’s earliest quartets; but after comparing these 6 to the authentic ones, it seems clear they are not Mozart’s. 1860. Finscher, Ludwig. “Mozarts ‘Mailänder’ Streichquartette,” in Die Musikforschung, xix (1966), 270–83. Finscher proves that the 3 quartets, K. Anhang 20.01, 20.02, and 20.04, are, like 20.03, not by Mozart but are by Joseph Schuster. He discusses these and other quartets of Schuster. 1861. Emerson, Isabell Putnam. “The Role of Counterpoint in the Formation of Mozart’s Late Style.” PhD dissertation. Columbia University, 1977. DAI xxxviii.2A, pp. 536–7. 330 pages. Emerson studies the development of Mozart’s contrapuntal writing in his Vienna years, 1781–1791, the result of Mozart’s contact with the music of J.S. Bach, and his contrapuntal studies 1781–1783. She looks closely at String Quartet K. 387, string quintets K. 593 and 614, concerto K. 459 and symphony K. 551. Mozart’s new conceptions, based on the unification of a small amount of material, are best exemplified in his string quartets first and then later in other types of music. See 1854 and 729 for other discussions of Mozart’s use of fugue and counterpoint in his string quartets. Susan Tepping compares the fugues in the quartets of Mozart, Haydn, and Beethoven 730. For important lessons to be learned from the autographs of Mozart’s string quartets, see the studies by Ludwig Finscher, Marius Flothuis, Alan Tyson, and Christoph Wolff in Christoph Wolff, ed. The String Quartets of Haydn, Mozart, and Beethoven 261. 1862. Gerstenberg, Walter. “Über den langsamen Einleitungssatz in Mozarts Instrumentalmusik,” in Hans Zingerle, ed., Festschrift Wilhelm Fischer zum 70. Geburtstag überreicht im Mozartjahr 1956, in Innsbrucker Beiträge zur Kulturwissenschaft, Sonderheft 3 (Innsbruck: Sprachwissenschaftliche Seminar der Universität Innsbruck, 1956), 25–32. ML 55.F5Z5.

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Gerstenberg discusses the special nature of slow introductions to allegro movements by late-18th- and 19th-century composers, and lists those symphonic and chamber works by Mozart that use it— mostly in works written after Mozart moved to Vienna (chamber works K. 171, 424, 452, 454, 465, 593, serenades, and divertimenti). 1863. Salvetti, Guido. “Mozart e il Quartetto Italiano,” in Friedrich Lippmann, ed., Colloquium “Mozart und Italien” (Rom 1974), in Analecta Musicologica, xviii (Köln: Arno Volk, 1978), 271–89. Salvetti points to the large number of Italian composers of chamber music and other instrumental music, which Mozart certainly knew on his early trips to Paris and London before his trip to Italy in 1770 (see 1864 for a better discussion of the first quartet). The first 13 quartets show the influence of Boccherini; but, after that time, Mozart regarded both Italian and French string quartets as too much concertant and so he turned increasingly to Haydn. When Mozart wrote flute quartets and even the oboe quartet, however, he turned to Italian cantilena melodies, and while the later Mozart quartets were far removed from Italian styles, nevertheless the cantabile element (from Italy) often occurred. 1864. Finscher, Ludwig. “Mozarts erstes Streichquartett: Lodi, 15 März 1770,” in Friedrich Lippmann, ed., Colloquium “Mozart und Italien” (Rom 1974), in Analecta Musicologica, xviii (Köln: Arno Volk, 1978), 246–70. Traditionally (Saint-Foix and others), this first Mozart quartet is regarded as simply an imitation of Sammartini and in no way interesting. Finscher reviews the history of the quartet and, while not claiming that it is a great work, finds some interest in its story. Written originally in 3 movements at 7 p.m. on March 15, 1770, it had a fourth movement added betwen 1772 and 1774, and Mozart kept the piece with him even in 1778 after he had already written 12 more mature quartets and other chamber music under the influence of Haydn. Finscher shows that there is no Sammartini influence; it is much more like a Boccherini trio (not quartet) where the order of movements remains slow-fast-minuet and all are in the same key. He analyzes the historical position of each movement: 2 Italian, 1 Austrian, and 1 later French movement. Therefore, this quartet was a conscious attempt by Mozart to mix styles, not according to precepts of Quantz so as to create a German style but to show his abilities in different national styles and so that the French would accept him with his use of a French movement. 1865. Einstein, Alfred. “Mozart’s Ten Celebrated String Quartets: First Authentic Edition, Based on Autographs in the British Museum and on Early Prints,” in The Music Review, iii (1942), 159–69.

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This is a preface to Einstein’s edition, which was delayed because of the War. He outlines a history of the autographs of the quartets (in the Paul Hirsch Library, now in the British Library), which shows that the printed editions of the 19th century and much of the early20th century are inaccurate. Einstein makes a comparison of the earliest 3 prints (under Mozart’s supervision) and the autographs; he prefers the autographs. 1866. Gerber, Rudolf. “Harmonische Probleme in Mozarts Streichquartetten,” in Mozart-Jahrbuch, ii (1924), 55–77. A look at the harmony of Mozart’s string quartets in isolation from meter and form, in order to see if there is an independent harmonic system. Gerber does not mean to imply that harmony is not interrelated with meter and form. He is concerned only with the 10 mature quartets K. 387, 421, 428, 458, 464, 465, 499, 575, 589, and 590. While Haydn achieved thematic development in Op. 33 (1782), Mozart achieved harmonic changes or modulations. While Haydn and Beethoven found in metric structure the logic for their formal drive, Mozart found this in the harmonic and melodic succession. The choice of unexpected modulations to unexpected tonalities gives the piece its inner motion. This play is the most outstanding side of Mozart’s artistic personality. 1867. Keefe, Simon P. Mozart’s Viennese Instrumental Music: A Study of Stylistic Re-Invention. Rochester (NY): Boydell Press, 2007. ISBN 1843833190. In the second section, Keefe explores the stylistic contrast between the 6 “Haydn” quartets, which are conversational and unified, and the 3 “Prussian” quartets, which are characterized by disjunction and juxtaposition. This stylistic development in Mozart is paralleled in the piano concertos and symphonies. The debt to Haydn 1868. Cherbuliez, Antoine-Elisée. “Bemerkungen zu den ‘Haydn’-Streichquartetten Mozarts und Haydns ‘Russischen’ Streichquartetten,” in Mozart-Jahrbuch (1959), 28–45. Cherbuliez reviews the literature on Mozart’s debt to Haydn’s Op. 33, and finds it wanting; thus, she presents a study concerned with the degree to which the debt is true based on Mozart’s own statements, as well as the works themselves. She points out the personal relationship between the 2 works and their similar reactions to their times. Cherbuliez generalizes about basic structural aspects—tonality

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and form—and finds the similarities between the 2 composers, which are then compared in a table. There is an extensive bibliography. 1869. Cuyler, Louise E. “Mozart’s Six Quartets Dedicated to Haydn,” in Gustave Reese and Rose Brandel, eds, The Commonwealth of Music in Honor of Curt Sachs (New York: The Free Press/London: CollierMacmillan, 1965), 293–9. ML 55.S13R4. Mozart’s 6 quartets are often unjustly ranked as imitations of Haydn’s Op. 33, rather than as pioneer works in their own right. Mozart preferred concertos and operas—contrasting bodies of sound – so the homogeneous quartet presented a problem. Thus Mozart’s juxtapositions relied on musical elements: chromatic versus diatonic, abrupt rhythmic transformations, unusual tonal levels. Also, besides Haydn, Mozart was influenced by J.S. Bach. Each of the 6 quartets is considered in turn, with the opening of K. 465 as the culmination. This is technical, but very readable. 1870. Siegmund-Schultze, Walther. “Mozarts ‘Haydn-Quartette,’” in Bence Szabolcsi and Dénes Bartha, eds, Bericht über die internationale Konferenz zum Andenken Joseph Haydns (Budapest 1957) (Budapest: Verlag der Ungarischen Akademie der Wissenschaften, 1961), 137–46. ML 410.H4M15. This is not an attempt to identify Mozart’s models, to compare Mozart and Haydn quartets, nor to analyze the form and motivic structure, but an attempt to describe what Mozart was trying to express in the music, especially as a dramatist in music. A dramatic intensity pervades all movements, in contrast to other moods in Haydn. The uniqueness of each work is perceptible in the reshaping of traditional forms, in the careful choice and contrast of themes, and in the demonic sturm und drang tones of pure humanity (chromaticism, minor keys). Siegmund-Schultze gives a characterization of each of the quartets and of Mozart himself: the great dramatic realist. 1871. Seiffert, Wolf-Dieter. “Mozart’s ‘Haydn’ Quartets: An Evaluation of the Autographs and First Edition, with Particular Attention to mm. 125–42 of the Finale of K. 387,” in Mozart Studies, ii, ed. Cliff Eisen (Oxford: Clarendon Press, 1991), 175ff. ML 410.M9.M732.1997. Seiffert compares the Mozart autographs and the first published edition to determine how Mozart was thinking about chromaticism and enharmonic changes in the music. 1872. Irving, John. Mozart: The “Haydn” Quartets. Cambridge/New York: Cambridge University Press, 1998. ISBN 0-521-58475-2. ML410. M9I73.1998. vii + 105 pages.

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A well-written scholarly introduction not only to these 6 quartets (K. 387, 421, 458, 428, 464, and 465) but also to Mozart’s music in general. Irving gives a synopsis of the form of each piece, yet far more important are his insightful discussions of the earlier Mozart quartets, his review of the sources and revisions of the “Haydn” quartets, his theoretical musings (including a rhetorical approach), and his evaluation of critical reactions to the pieces (especially Hans Keller’s “organic” analyses). 1873. Seidel, Wilhelm. “Sechs musikalische Charaktere: zu den Joseph Haydn gewidmeten Streichquartetten von Wolfgang Amadeus Mozart,” in Mozart Jahrbuch (1984–5), 125–9. “Sei caraterri musicali dei quartetti dedicati a Haydn,” in Mozart, ed. Sergio Durante (Bologna: Il Mulino, 1991), 249–56. Seidel concentrates on the cyclic form in Mozart’s “Haydn” quartets since it deals both with structural considerations and aesthetic ones. He can stand back and look at the whole of the quartets. By cyclic form, he understands the concept of multi-movement works as propounded by Adolf Bernhard Marx and Hugo Riemann. Each of the 6 quartets has its own character based on this kind of analysis: 1) motivic and thematic figures; 2) unusual tonalities; 3) metric and rhythmic devices; 4) harmonic and rhythmic relationships; 5) thematic development, and 6) a balance of all these factors—this is the greatest of the 6 characteristics. 1874. Cavett-Dunsby, E. “Mozart’s ‘Haydn’ Quartets: Composing Up and Down Without Rules,” in Journal of the Royal Musical Association,” cxiii (1988), 57–80. 1875. Bonds, Mark Evan. “The Sincerest Form of Flattery? Mozart’s Haydn Quartets and the Question of Influence,” in Studi Musicali, xxii (1993), 365+. 1876. Pfann, Walter. “Ein bescheidener platz in der sonatenform … zur formalen Gestaltung des Menuetts in den Haydn-Quartetten Mozarts,” in Archiv für Musikwissenschaft, lii (1995), 316–36. 1877. Irving, John Alan. “Revisiting Mozart’s ‘Haydn’ Quartets,” in Studi Musicali, xxix (2000), 185–214. 1878. Bruce, I.M. “Notes from an Analysis of Mozart’s Quartet in G Major, K.387,” in The Music Review, x (1949), 97–110. This is a fairly rigorous analysis of the forms of the movements based on harmony and melody. 1879. Gweon, Song Taeg. “Mocareuteu eum’ag e natananeun gwanyongjeog pyohyeon yangsig: hyeon’ag sajungju K.387 yi topig bunseog” [Idiomatic

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Passages of Mozart’s Music: An Analysis of String Quartet, K. 387.] Nangman eum’ag/Nangman Quarterly, xvii, No. 4 (Fall 2005), 67–88. 1880. Jang, Gyeon-sil. “Mocareuteu hyeon’ag 4jungju KV 387 e natanan geu yi gojeon yangsig” [The Classical Style in Mozart String Quartet KV 387]. Seoyang eum’aghag/Journal of the Musicological Society of Korea, vi (2003), 51–75. 1881. Grebe, Karl. “Das ‘Urmotiv’ bei Mozart: Strukturprinzipien im G-Dur-Quartett KV 387,” in Acta Mozartiana, vi (1959), 9–14. The use of a single germ motive to generate a whole movement is rare in Mozart’s music; its use in the Jupiter Symphony is extraordinary and not found in any other of his symphonies. In the G-major String Quartet, however, Mozart does not use a germ motive for all 4 movements but, rather, a single germ idea: the antithesis between a standard diatonic interval of a third, fourth, fifth, sixth or octave and a chromatic line. This is a dialectic antithesis. 1882. Mitchell, William J. “Giuseppe Sarti and Mozart’s Quartet, K. 421,” in Current Musicology, No. 9 (1969), 147–53. Mitchell reviews a critical account of Mozart’s 2 quartets, K. 421 and 465, by Sarti and shows that minute quibbling over details often obscures the logic of the details in a much broader context. This is a good lesson for the theorist or historian who loses touch with the larger issues. 1883. Danuser, Hermann. “Vers-oder Prosaprinzip?” in Musiktheorie, vii (1992), 245–63. Includes an analysis of Mozart’s Quartet K. 421 in D. 1884. Seidel, Wilhelm. “Ein Ausbund an Unberechenbarkeit: Über den ersten Satz des Quartetts in A-Dur, KV 464, von Wolfgang Amadeus Mozart.” In Dem Ohr voraus: Erwartung und Vorurteil in der Musik, Andreas Dorschel, ed. (Vienna/London: Universal Edition, 2004), 60–78. The expectations of the listener in Mozart’s time were different from those in our time, and the musical conventions which the composer played with are not our conventions. What the expectations and conventions were in Mozart’s time and how Mozart’s works are to be understood, not judged, by those conventions, Seidel demonstrates in the first movement of the A-major Quartet KV 464. 1885. Ligeti, György. “Konvention und Abweichung: die Dissonanz in Mozarts Streichquartett C-dur, KV 465,” in Österreichische Musikzeitschrift, xlvi (January–February 1991), 34–9.

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A painstakingly intense, yet short, analysis of the notes of this famous introduction to the first movement of the C-major Quartet. Ligeti shows that they purposely reinforce the basic subdominant to dominant tonality, yet do so by suggestive, ambiguous modulation. 1886. Elvers, Rudolf. “Ein unbekannter Entwurf zum Menuett des JagdQuartetts,” in Mitteilungen der Internationalen Stiftung Mozarteum No. 18 (December 1956), 2–5. Elvers writes about the discovery of a manuscript page from the minuet of Mozart’s String Quartet K. 458 in an autograph book, which is also bound with a manuscript of a Haydn Scottish song. It is the start of a movement that was then discarded. Elvers briefly compares the finished version with this scrap. 1887. Klockow, Erich. “Mozarts Streichquartett in C-Dur,” in Deutsche Musikkultur, vi (1941–2), 67–75. Klockow finds Mozart moving from a sonata form with loosely connected elements (1782–1783) to a tightly-knit sonata form (January 1785) where the first theme leads to the rest of the movement and where the whole is more than the sum of its individual parts. While this is evident in the A-major quartet, Mozart handles it more naturally in the C-major. This is a scholarly analysis, but not without some subjective reactions. 1888. Klockow, Erich. “Mozarts Streichquartett in A-Dur,” in MozartJahrbuch, iii (1929), 209–41. Klockow reviews Mozart’s struggle with sonata form from 1781 to 1784 wherein he recognizes the need for motivic development, not just big beautiful themes. Then he analyzes the A-major Quartet K. 464 to see how the motives are handled. This is an intensive study of the style and form of the piece as affected by the motivic treatment. The individual motives serve not only as passing moments of interest but are subsumed into a whole, an uninterrupted functional unity. 1889. Vertrees, Julie Anne. “Mozart’s String Quartet K.465: The History of a Controversy,” in Current Musicology, No. 17 (1974), 96–114. Vertrees is opposed to Mitchell’s largely theoretical put-down of Sarti’s criticism of K. 421 (see 1882). She gives a mostly historical account of the criticism of the opening of K. 465 (“The Dissonance”), which extends from a 1787 criticism to a 1925 attack by Ernest Newman (who considered Sarti correct and Mozart wrong). 1890. Chailley, Jacques. “Sur la Signification du Quatuor de Mozart K.465, dit ‘Les Dissonances,’ et du 7ème Quatuor de Beethoven,” in Bjorn

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Hjelmborg and Sorensen, eds, Natalicia Musicologica Knud Jeppesen Septuagenario (Copenhagen: Wilhelm Hansen, 1962), 283–92. ML 160.N3J3. Since both quartets shocked their audiences initially and are not shocking today, perhaps only because of the fame of their authors, Chailley makes a comparison of the 2 works to see if the cause of the initial shock lies in the similarity of their initial conception. While the 18th and 19th centuries deplored the “mistakes” of Mozart’s opening, the 20th century regrets that Mozart did not continue the dissonances beyond the introduction. Why did Mozart abandon them? Chailley believes it represents the Masonic initiation (introduction) where Mozart was blind-folded and made to endure the trials by land, water, air, and fire, after which (the rest of quartet) he removed the blindfold and suddenly confronted the light of revelation. Mozart was initiated on December 14, 1784; the quartet is dated January 14, 1785. The preceding quartet in A, finished on January 10, 1785, is also Masonic-inspired: it has 3 sharps, and a question-and-answer relationship between violin 1 and the other instruments. There is precedence for such chromaticism, and Haydn, to whom the quartet is dedicated and who was himself a Mason, did the same sort of thing later in his “Creation.” The Beethoven parallel is at the beginning of the Scherzo to Op. 59 No. 1, which was perplexing to performers and audiences of the time (1806) for its 3-time presentation of repeated notes. Chailley convincingly shows Beethoven’s Masonic connections and both the second and third movements of Op. 59 No. 1 reveal this. There is no absolute proof, but it is the strong possibility. Also, Andrei Razumovsky probably had such connections. Chailley shows musical elements in the quartet that relate to Masonic ideas, just as in Mozart’s quartet. 1891. Cherbuliez, Antoine-Elisée. “Zur harmonischen Analyse der Einleitung von Mozarts C-Dur Streichquartett (K. V.465),” in Erich Schenk, ed., Bericht über die musikwissenschaftliche Tagung der Internationalen Stiftung Mozarteum in Salzburg von 2. bis 5. August 1931 (Leipzig: Breitkopf & Härtel, 1932), 103–11. Cherbuliez recognizes Mozart’s contrapuntal thinking in this famous introduction that allows him to reach some unusual harmonic situations. Nonetheless, Cherbuliez attempts an harmonic analysis. 1892. Dudeque, Norton. “Variaça-o progressiva como un processo gradual no primeiro movimento do quarteto ‘A Dissonancia,’ K. 465, de Mozart,” [Developing variation as a gradual process in the first movement of Mozart’s “Dissonance” quartet, K. 465]. Per musi Revista de Performance Musical, viii (July–December 2003), 41–56.

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Dudeque gives a review of Arnold Schoenberg’s concept of developing variation and its application to the first movement of Mozart’s String Quartet K. 465. Schoenberg found that harmonic and motivic variations gradually evolve in this movement, and Dudeque follows this theory in more detail. The theory become important in Schoenberg’s own compositions. 1893. Krummacher, Friedhelm. “Kantabilität als Konstruktion: zum langsamen Satz aus Mozarts Streichquartett KV465,” in Werner Breig, Reinhold Brinkmann and Elmar Budde, eds, Analysen: Beiträge zu einer Problemgeschichte des Komponierens: Festschrift für Hans Heinrich Eggebrecht zum 65. Geburtstag, in Beihefte zum Archiv für Musikwissenschaft, xxiii (Stuttgart: Franz Steiner Verlag Wiesbaden, 1984), 217–33. ML 5.A63 Suppl. Bd.23. ISBN 3-515-03662-8. Krummacher notes that analytical studies of Mozart’s quartets are rare and seldom adequate, and that such studies concentrate on the first and last movements and ignore the slow movements because of their irregularity. Therefore, he concentrates here on 1 such internal movement, with reference to the slow movement of K. 387 in G major as well. He dismisses the 19th-century practice of Koch and Marx in relating everything to sonata form. In K. 465 the slow movement structure evolves out of the cantabile of the opening theme and continues to evolve until the end of the movement. This is quite different from form based on contrast. The form is not transferable; it depends on the particular cantabile melody. Such structure is hard to analyze with words. 1894. Hümmeke, Werner. Versuch einer strukturwissenschaftlichen Darstellung der ersten und vierten Sätze der zehn letzten Streichquartette von W.A. Mozart, in Veröffentlichungen zur theoretischen Musikwissenschaft, Band 2. Munster: photocopy of typescript, 1970. ML 410.M9H88. 273 pages. Hümmeke proposes to present the scientific structure of the first and fourth movements so that Mozart’s quartets can be properly compared to Haydn’s and the extent of borrowing and originality in them properly assessed. He criticizes older methods of analysis whereby an individual work is to be understood in terms of a priori forms and concepts; a scientific analysis deals first with the individual work and the interactions of its constituent parts into an order planned by the composer. Taking only what exists in a work and nothing else to determine the piece’s work-model, the personal style and spirit of the piece can be scientifically fixed. This is based on Ursula Götze, “Darstellung der Werkstruktur,” in Johann Friedrich Klöffler, University of Munster dissertation, 1965, pages 203ff. The scientific elements

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of a piece are determined through comparison, and their interaction is first described by recurrence or non-recurrence (recurrence is subdivided into identical, like, similar, associated, equivalent). The elements of a movement are built out of morphen and larger parts, and integration exists between smaller elements and the whole. The methodology is explained at length and signs for these given. Using these concepts, the 20 movements of the Mozart quartets are then analyzed with the help of 42 oversized, pull-out graphs, 3 pull-out charts, and numerous other tables. In conclusion, Hümmeke gives percentages as to when certain types of recurrences occur or when they do not. In the first movements, the openings are less important than the endings; in the last movements, the openings are more important and then usually recur at the end. See also 1562. 1895. Schachter, Carl E. “Rhythm and Linear Analysis: Aspects of Meter,” in The Music Forum, vi (1987), 41–3. Deals with Mozart’s String Quartet K. 499 in D major. 1896. Parker, Mara Emily. “Towards an Understanding of Mozart’s K. 575: The Influence of Jean Louis Duport’s ‘Essai sur le Doigte du Violoncelle et sur la conduite de l’Archet’,” in Mitteilungen der internationalen Stiftung Mozarteum, xxxv, (1987), 73–83. 1897. King, Alexander Hyatt. “Mozart’s ‘Prussian’ Quartets in Relation to his Late Style,” in Music and Letters, xxi (1940), 328–46. King tries to explain how these 3 quartets (and Così fan Tutte) were products of a new period of creativity of Mozart’s, after a lull during which he renewed himself. He finds new, adventuresome elements of form, counterpoint, and melody and such new stylistic traits as the prominence of the cello in these quartets. King opposes those who would denegrate these pieces (especially Dunhill) and in this seemingly long article emphasizes the transparent lightness of texture and vitality of craftsmanship in them. 1898. Benestad, Finn. “Mozarts Strykekvartett in D-Dur (KV575),” in O.M. Sandvik, ed, Norsk Musikkgranskning: Arbok 1959–61 (Oslo: Johann Grundt Tanum, 1961), 74–89. In Norwegian. Benestad reviews Mozart’s quartets up to 1789 and K. 575, and analyzes for the historian this quartet to show Mozart’s “deepfelt simplicity and artistic satisfaction.” This is a history of Mozart’s writing the quartet. It is scholarly, and thoughtful, but not too technical. 1899. Saint Foix, Georges de. “Le Dernier Quatuor de Mozart,” in Studien zur Musikgeschichte: Festschrift für Guido Adler zum 75. Geburtstag (Vienna/Leipzig: Universal Edition, 1930), 168–73. ML 55.A2S8.

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Mozart wrote his last 3 quartets for Frederick Wilhelm II of Prussia, Boccherini’s great patron and, himself, a cellist. Having just finished reorchestrating 2 Handel works, Mozart was under the influence of Bach and Handel in 1790 when he wrote the last 2 quartets: thematic unity and, especially in the finale of the last quartet in F, exceptional counterpoint that make the movement the high point of the whole quartet. While the 6 ‘Haydn’ quartets were written to please Haydn and show the ultimate in taste and science, the last 3 quartets were written to show the fullness of his own powers and genius. Saint Foix reacts against the prevailing opinion in 1930 (by H. Abert and others) that these 3 quartets are inferior to the 6 ‘Haydn’ quartets. He believes the finale of the last quartet—like the finale of the Jupiter Symphony— is the beginning of a new Mozart in his depth of expression and in the 2 traits of thematic unity and contrapuntal expertise. 1900. Schmalfeldt, J. “Cadential Processes: The Evaded Cadence and the ‘One More Time’ Technique,” in Journal of Musicological Research, xii (1992), 1–52. Deals with Mozart’s K. 589 quartet. Mozart’s other chamber music 1901. Heinzel, Mark Alexander. Die Violinsonaten Wolfgang Amadeus Mozarts. Karlsruhe: M. A. Heinzel, 1996. 787.2139 M939.H472.1996. 220 pages. PhD dissertation. Albert-Ludwigs-Universität, 1996. A basic study of Mozart’s violin-piano sonatas. The thesis is divided into 2 parts: Part I is a summary history of the violin-keyboard sonata of the 18th century before Mozart and without reference to Mozart (i.e. without limiting the study only to that which is important for understanding the Mozart sonatas), while Part II is an historical and theoretical study of the Mozart violin-piano sonatas. Part I includes specific analyses of sonatas by Vivaldi, J.S. Bach, Mondonville, Boccherini, C.P.E. Bach, J.C. Bach, and Franz Benda. Part II begins by placing the Mozart sonatas into 3 time periods (to 1778 [childhood sonatas, KV 296 and 301–306]; from 1779 to 1781 [KV 376–380]; and after 1781) and discussing the historical context for the sonatas. It then analyzes the style, form, and violinistic technique of these pieces. Part II concludes with an essay on how the violinkeyboard sonata developed from the sonata da chiesa to Mozart and where these sonatas fit into Mozart’s overall compositional output. 1902. Forsberg, Carl Earl. “The Clavier-Violin Sonatas of Wolfgang Amadeus Mozart.” PhD dissertation. Indiana University, 1964. UMI 65–3477. DA xxvi.2. 312 pages.

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Forsberg analyzes each of Mozart’s 44 sonatas and traces the influences of Leopold Mozart, Schobert, Johann Gottfried Eckard, J.C. Bach, Hermann Friedrich Raupach, Sammartini, Veracini, Honauer, and others. He finds that the sonatas fit into chronological groups: the earliest are keyboard sonatas with accompanying violin; the next, few in number, show Boccherini’s influence (K. 46d, 46e, 55–60); then come K. 301–6, under the influence of Schuster’s divertimenti; these are followed by K. 376–80, and 296, all in 3 movements; K. 402–4 and 372 show a growing interest in Baroque counterpoint; finally, K. 454, 488, and 526—the concert years—the most perfect violin + keyboard sonatas before Beethoven. K. 547 seems out of place. 1903. Hunkemöller, Jürgen. “Mozart’s Mannheim Sonatas for Violin and Piano.” In Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, László Vikárius and Vera Lampert, eds (Lanham (MD): Scarecrow Press, 2005, ISBN 0810852977), 207–218. Hunkemöller concentrates on the history and structure of the sonatas of 1778 when Mozart was vying for a position at the Mannheim, then Munich, court. 1904. Komlós, Katalin. “Mozart’s Chamber Music with Keyboard: A Musical Panorama of Europe, 1762–1788.” In Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, László Vikárius and Vera Lampert, eds, (Lanham (MD): Scarecrow Press, 2005, ISBN 0810852977), 193–206. Komlós gives an historical review of where and how Mozart wrote his accompanied sonatas, and the influences on him of Johann Schobert, Johann Christian Bach, Joseph Schuster, the Mannheimers, and others. From 1784 to 1788 on, Mozart used the keyboard not only in sonatas but also in larger chamber ensembles, which are discussed in less detail. 1905. Flothuis, Marius. “Sonatas, Sonata Movements and Variations with Violin,” in The Compleat Mozart: a Guide to the Musical Works of Wolfgang Amadeus Mozart, ed. Neal Zaslaw (New York/London: W.W. Norton Company, 1990), 285–298. This is a list of Mozart’s violin-piano sonatas with a brief historical commentary about them and a layperson’s charaterizations of each sonata. 1906. Cherubini, Ralph. “Leopold Mozart’s Violinschule as a Guide to the Performance of W.A. Mozart’s Sonatas for Violin and Keyboard.” PhD dissertation. Case Western Reserve University, 1976. UM 77–11997. DA xxxviii.1A, p. 15. 327 pages.

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Cherubini assumes that Wolfgang, as a pupil of his father, was influenced by his father in writing and performing his violin + piano sonatas. He discusses Leopold’s treatise: violin technique, ornamentation, and musical style; he interprets Wolfgang’s sonata K. 296 accordingly. 1907. Hunkemüller, Jürgen. “W.A. Mozarts frühe Sonaten für Violine und Klavier: Untersuchungen zur Gattungsgeschichte im 18. Jahrhundert.” PhD dissertation. Heidelberg University, 1968. RILM 70–3263. 144 pages. Published in Neue Heidelberger Studien zur Musikwissenschaft, Band 3. Bern/Munich: Francke, 1970. ML 410.M9H89. 144 pages. Mozart wrote 32 violin + piano sonatas from 1762 to 1788, which have been discussed in important studies elsewhere (see Forsberg 1902) and which cover all his compositional metamorphoses. Hunkemüller discusses them here as part of the history of the genre. The earlier sonatas are accompanied keyboard sonatas, the later ones dialogue violin + piano sonatas. He concentrates on the earlier ones since they are generally neglected, they are the source for the later ones, and they reveal the growth of the child Mozart. Hunkemüller compares the earliest ones to their original version for Klavier alone. There are few real changes: the violin being added as improvised variation and simply doubling the right hand melody in unison, parallel thirds, or sixths, or joining the accompaniment figures of the left hand or inner voices. He discusses the technical difficulty of the violin part (he compares it with L. Mozart’s book), goes into tonal and formal structure, considers Mozart’s models especially in London and Paris, and investigates the extent to which Leopold wrote parts of the early sonatas. Hunkemüller analyzes and compares the early and later sonatas by Mozart and Mozart’s contemporaries Giardini (1716–96), Pellegrini (1715–67), Boccherini, J.Ch.F. Bach, and Schuster (1748–1812). He concludes with an analysis of the genre “violinsonata” as reflected in the works of Mozart, with special consideration of the role of the piano and the sociological role of the sonatas, including whether they were published in series or not. 1908. Schmidt-Beste, Thomas. “Mozarts späte Violinsonaten im Kontext der Kammermusik mit Klavier,” in Neues musikwissenschaftliches Jahrbuch, Marianne Danckwardt and Johannes Hoyer, eds, xiv (2006), 125–145. Schmidt-Beste offers a detailed discussion of the balance between the piano and the violin in Mozart’s later sonatas whereby the piano no longer dominates (as in the earlier sonatas) but shares themes with the violin. The piano right hand and the violin are in dialogue. This relationship is compared to that in the piano trio, where there is a

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greater tendency for the 2 strings to work together and stand apart from the piano. The issue of balance between the piano and string(s) in both the sonata and trio is tackled by Mozart in tandem; but in the sonata, though not the trio, the piano and violin are more integrated. 1909. Eppstein, Hans. “Warum wurde Mozarts KV 570 zur Violinsonate?” in Die Musikforschung, xvi (1963), 379–381. This piano sonata was published by Artaria in 1796 with a violin part and until recently it was considered as a violin + piano sonata. Now that it has returned to its rightful position as a piano sonata, Eppstein investigates how it became a violin sonata. Mozart himself could not have done this since this keyboard + violin accompaniment type of sonata was well behind him at this point of his career and stylistically it is not Mozart. Eppstein speculates that the composer of the violin part wanted to improve the sound (not the melody or form). He concentrates on the second movement, where he finds fault with Mozart’s piano alone and sees a concerto origin. He speculates further that perhaps the composer knew Mozart and saw these problems and offered a solution. 1910. Newman, William S. “The Duo Texture of Mozart’s K. 526: An Essay in Classic Instrumental Style,” in Gustave Reese and Robert J. Snow, eds, Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday (Pittsburgh: University of Pittsburgh, 1969), 191–206. German trl. “Die Duo-Struktur in Mozarts Violinsonate KV 526: ein Versuch über den klassischen Instrumentalstil,” in Gerhard Schuhmacher, Zur musikalischen Analyse (Darmstadt: Wissenschaftliche Buchgesellschaft, 1974), 96–114. A study of texture in this violin + piano sonata. Newman considers texture as “the balance between 2 instruments; the fullness of the part-writing; the euphony of the scoring; the contrapuntal activity and other busy-ness within the texture; the technique of voiceleading; and the idiomatic treatment of the individual instruments.” He puts this analysis into historical perspective by comparing the chosen sonata to the accompanied violin sonata of the Baroque period and the accompanied keyboard sonata with obligato violin of the mid-18th century. 1911. László, Francisc. “Geneza trioului cu pian la Mozart,” in Studii de Muzicologie, x (1974), 302–310. In Romanian. László traces the genesis of the piano trio from Mozart’s earliest piano sonatas with optional violin and (according to László) violoncello through the Divertimento K. 254 and culminating in the

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great piano trios of K. 496 following (1786). This is a serious essay for historians and performers. 1912. Kube, Michael. “Mozarts Klaviertrios aus satztechnischer Perspektive.” In Mozart-Jahrbuch (2005), 59–71. In the 1780s, piano trios formed a modest segment of Mozart’s musical output. The question repeatedly arises whether this is in fact a genre or a scoring. Kube offers a brief study of the structure of Mozart’s piano trios in comparison to those by Kozeluch. The piano trio of Mozart is not built out of the addition of a cello to the violin sonata but from the reduction of the piano quintet and quartet. The same development is found also in Beethoven, Mendelssohn, and Schumann. 1913. Marguerre, Karl. “Mozarts Klaviertrios,” in Mozart-Jahrbuch (1960–1), 182–194. Marguerre considers the 6 late piano trios that Mozart wrote 1786–1788 as neglected masterpieces; yet they are not good for the players—especially the cellist—and they are less weighty than the late quartets and quintets. He looks upon these trios as a continuation of the evolution out of the accompanied piano sonata and along a further path past the violin + piano sonatas. Thus, there is a lot of experimentation in the relationships among the 3 instruments (see the scoring changes in the 1788 collection to clarinet or violin + cello + piano). 1914. Raeburn, Andrew. “Chamber Music without a Keyboard Instrument,” in The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, ed. Neal Zaslaw (New York/London: W.W. Norton Company, 1990), 251–274. Raeburn provides a list of Mozart’s chamber music without keyboard with a brief historical commentary about each piece and a layperson’s characterization of each work. 1915. Einstein, Alfred. “Mozart’s Four String Trio Preludes to Fugues of Bach,” trl. by Marianne Brooke, in The Musical Times, lxxvii (1936), 209–216. Einstein considers Mozart’s preludes a3 and his arrangements of part of the exposition of the fugue of Bach’s Well-Tempered Klavier, II.13. He reviews the relationship of Baron von Swieten to the Bachs—he learned of J.S. Bach from Frederick the Great and received copies of the Well-Tempered Klavier from C.P.E. Bach— and the influences of the Bachs on Mozart via von Swieten. For von Swieten, Mozart arranged 4-part fugues (WTK II.2, 5, 7, 8 and 9)

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for string quartet and 3-part fugues (WTK I.8, II.13 and 14, plus other J.S. and W.F. fugues) for violin + viola + cello. For the 3 trio fugues and W.F. Bach’s fugue, Mozart composed his own slow preludes—there is only 1 other piece by Mozart for a string trio. Einstein points to Florian Gassmann’s quartets, wherein the first movement adagio or andante is followed by a fugue, and Albrechtsberger’s quartet in 6 movements (3 pairs of slow prelude + fugue) as possible evidence that they could have written the Mozart trios; but he dismisses this on stylistic grounds and argues that the trios are indeed from Mozart. For an analysis of Mozart’s late string chamber music, including the quintets, see Maud Trimmer’s dissertation 1558. For a penetrating analysis and critique of the quintets, see Charles Rosen’s The Classical Style 1503. 1916. Eisen, Cliff, and Wolf-Dieter Seiffert, eds. Mozarts Streichquintette: Beiträge zum musikalischen Satz, zum Gattungskontext und zu Quellenfragen. Stuttgart: Franz Steiner, 1994. ISBN 3-515-06628-4. MT145.M7M69.1994. 201 pages. This is a collection of 7 essays on Mozart’s quintets including musicological studies and formal analyses: “à 1, 2, 3, 4 et 5 parties: Gattungsmerkmale und Satzarten in Mozarts Streichquintetten” (Christoph Wolff); “Mozarts ‘Salzburger’ Streichquintett” (WolfDieter Seiffert); “Ein Quintett im Diskurs mit dem Streichquartett: Mozarts Streichquintett C-Dur, KV 515” (Hartmut Schick); “Der Schlußsatz von Mozarts Streichquintett in C-Dur, KV 515” (Rudolf Bockholdt); “Mozart and the Viennese String Quintet” (Cliff Eisen); “Zu Mozarts späten Streichquintetten” (Ludwig Finscher); and “Fragmente aus der Gegenwart: Mozarts unvollendete Kompositionen für Streichquintett” (Ulrich Konrad). 1917. Panner, Daniel Z. “The Function of the Second Viola in the String Quintets of Wolfgang Amadeus Mozart.” DMA dissertation. City University of New York, 2003. ISBN 0496507251. vii + 134 pages. Unlike Haydn and Beethoven, Mozart felt the need to enlarge the quartet into the quintet in order to expand the textures, increase variety, develop larger the forms, and introduce more operatic styles. After a review of the history of the string quartet and quintet during the second half of the 18th century, Panner devotes a chapter to each of these reasons for enlarging the scoring. He starts by comparing the String Quartet K. 173 with the Quintet K. 174; in the latter piece, the first violin and first viola still are predominantly in dialogue, but Mozart also begins to experiment with a variety of pairings and combinations of the 5 instruments. Mozart the violist knows the

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workings of the viola as an inner voice, but here at times the viola can be the bass line, which frees the violoncello to become a melody instrument. This is a thorough study, which should be read by anyone performing the 6 quintets. 1918. Eisler, Edith. “A Mozart Masterwork,” in Strings, xx (May 2006), 34–5. Discusses the string quintet in C minor, K. 406. 1919. Irvine, Thomas Alexander. “Echoes of Expression: Text, Performance, and History in Mozart’s Viennese Instrumental Music.” PhD dissertation. Cornell University, 2005. ISBN 0496969765. 284 pages. In seeking a “musical” way to write music history, Irvine decides to edit Mozart scores not in the traditional musicological way but with the performance in mind. He studies German treatises of the late18th century to discover how the concept of “expression” was evolving, and he traces this concept in the string quartets of Mozart. Later, he studies “multi-textuality” in the String Quintet K. 593, through which the autograph, manuscript copies and early engraved editions are related to descriptions of an early performance. Linguistic theories of expression and the new historicism of the late-18th century are reflected in Mozart’s compositions. 1920. Irvine, Thomas. “‘Das launigste Thema’: On the Politics of Editing and Performing the Finale of K. 593,” in Mozart-Jahrbuch (2005), 3–23. A brilliant essay on the 2 different versions of the first theme of the finale of Mozart’s Viola Quintet in D. The question of which is more authentic is not answered—it cannot be. By tracing the musical sources and studying the statement by Maximilian Stadler, who performed the piece with Mozart, that the piece is “launig” (humorous, in a late-18th-century sense), he refutes the editors of the Neue Mozart Ausgabe that only 1 version is correct. All performers of the piece must read this first. 1921. Irving, John Alan. “Variation Technique in the Adagio of Mozart’s D Major String Quintet, K.593,” in Tijdschrift voor Muziektheorie, ix (February 2004), 12–18. Following ideas presented by V. Kofi Agawu, Irving studies this 1 sonataform movement not by analyzing the sonata form but by seeing how Mozart improvises variations on the materials that are presented. 1922. Brügge, Joachim. “Intertextualität als Problem: zum Finale von Mozarts D-Dur-Quintett, KV 593, und ‘Jupitersymphonie’, KV 551 IV,” in Acta Musicologica, lxviii (1996), 1–11.

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Brügge weighs the unusual chromatic melody that opens the final movement of KV 593 with the usual texture, development, and tonality of the movement, and compares a similar melodic passage of the quintet movement (mm. 69ff.) with that in the last movement of the “Jupiter” Symphony. It is not a question of copying an earlier idea but of using the same idiom in differently developing contexts. 1923. Cleary, Nelson Theodore. “The D-Major String Quintet (K.593) of Wolfgang Amadeus Mozart: A Critical Study of Sources and Editions.” PhD dissertation. Michigan State University, 1973. UM 74–6022. DA xxxiv.9A, pp. 6020–1. vi + 227 pages. A study of the various early editions and autograph score of this piece, with attention to discrepancies here and in later editions to the present. The most significant finding is that Mozart probably did not revise the chromatic theme in the finale. Cleary’s findings were anticipated in 1924. 1924. Hess, Ernst. “Die ‘Varianten’ in Finale des Streichquintettes KV 593,” in Mozart-Jahrbuch (1960–1), 68–77. Hess considers in detail the differences between the autograph manuscript of the quintet and its earliest published versions. He points out Einstein’s mistakes as well: he had not recognized changes in the manuscript score that had not been made by Mozart himself but by someone else. He includes 2 facsimiles of the autograph. 1925. Dubiel, Joseph Peter. “The First Movement of Mozart’s C-Major Quintet.” PhD dissertation. Princeton University, 1980. UMI 80–18655. DAI xli.3A, p. 843. 139 pages. Vol. I only. Dubiel compares the opening material of the movement to its exact repetition in the repeat of the exposition, to its development, and to its return in the recap in order to see how the material functions differently. 1926. Montgomery, Michael Francis. “A Critical Analysis of the Modulations of W.A. Mozart in Selected Late Instrumental Works.” PhD dissertation. New York University, 1976. UMI 76–19036. DAI xxxvii.2A, p. 682. Montgomery considers the string quartets and quintets K. 590, 593, and 612, as well as piano sonatas, symphonies, and concertos. 1927. Keller, Hans. “Functional Analysis of Mozart’s G Minor Quintet,” in Music Analysis, iv (March–July 1985), 73–94. Keller produces an analysis without words, using musical adaptations of Mozart’s score to demonstrate stylistic and functional happenings

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through special emphasis, thinning out, rests, expansion, reordering, juxtaposition, and omission. He believes that a musical conception often cannot be expressed in words, but still leaves the reader guessing on a lot of points. 1928. Newman, Sidney. “Mozart’s G Minor Quintet (K.516) and its Relationship to the G Minor Symphony (K.550),” in The Music Review, xvii (1956), 287–303. Newman reviews the obvious though precarious thematic relationships between the 2 pieces and proposes that the symphony develops out of discarded material for the conclusion of the quintet. The discussion is based upon comparison of a Mozart autograph of the quintet, formerly in the Berlin Staatsbibliothek and viewed there in 1937 by the author, to an autograph “Erinnerungsblatt” auctioned in 1929 (and, as revealed in The Music Review, xviii (1957), 4–7, now in Japan), apparently dating from the same time as the other manuscript. This is an interesting essay on the origins of the quintet. 1929. Riemann, Hugo. “Das Adagio und Menuett von Mozarts G-mollStreichquintett: Analytische Studie,” in Präludien und Studien: gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik, III (Leipzig: 1901; reprint Hildesheim: Georg Olms, 1967), 69–82. ML 60.R56.1967. Originally in Musikalisches Wochenblatt (1889), No. 7–10. A fairly technical analysis of several themes from these 2 movements. Riemann points out the changing metrical and motivic structure and their part in periodization. He seeks the location of stressed notes in the musical phrase. This is for the more advanced performer. For Mozart’s treatment of the viola in his chamber music, see J. Arthur Watson’s “Mozart and the Viola” 2563. 1930. Raeburn, Andrew. “Non-Orchestral Serenades, Divertimentos, and Marches,” in The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, ed. Neal Zaslaw (New York/London: W.W. Norton Company, 1990), 238–250. A list of Mozart’s serenades, divertimenti, and marches that qualify as chamber music, with a brief historical commentary about and a layperson’s characterization of each work. 1931. Rufino, Vincent J. “Wolfgang Amadeus Mozart’s Inspiring Works for Chamber Winds,” in The Instrumentalist, lx (August 2005), 22–4, 26–7. A brief description of Mozart’s wind chamber music for between 6 and 13 players. This is written for high school students looking for repertoire.

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1932. Ward, Martha Kingdon. “Mozart and the Flute,” in Music and Letters, xxxv (1954), 294–308. Mozart rarely used the flute in chamber music. Ward gives 1 paragraph to the flute quartets K. 285a, 298, and App. 171, which the author believes to be inferior. 1933. Leavis, Ralph. “Mozart’s Flute Quartet in C, K.App. 171,” in Music and Letters, xliii (1962), 48–52. Leavis briefly authenticates the works that Mozart wrote for the flutist De Jean and concentrates on the 1 work not previously authenticated, K. App.171. He points to a fragment of it that is definitely by Mozart in an autograph manuscript given in facsimile in the Neue-Mozart-Ausgabe by L. Finscher (Ser. viii/20, Abb.1, Bd. 3, p. 150). Leavis considers the possibility of an arrangement by someone else, but has no conclusive evidence that K. App. 171 as it stands is entirely authentic. 1934. Fraase, T. “The Interpretation of the Ornamentation in Mozart’s Oboe Quartet K.370,” in The Triangle of Mu Phi Epsilon, lxxxvii (1993), 3–4. 1935. Houle, George. “Articulation and Ornamentation in Mozart’s Oboe Quartet, K.370,” in Wye J. Allanbrook, Janet M. Levy, and William P. Mahrt, eds, Convention in Eighteenth- and Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner (Stuyvesant [NY]: Pendragon Press, 1992), 383–402. Houle discusses how, by notating ornaments and then giving them specific “slurs, staccato marks, and other directions for articulation,” Mozart turned them into important thematic elements. He first considers articulation in wind and string music before Mozart and then analyzes its appearance in the notation of 1 particular piece: the oboe quartet. This is a useful exercise for all performers of Mozart’s chamber music. 1936. Maxwell, John. “The Finale of Mozart’s Oboe Quartet, K.370: A Reductive Analysis,” in Indiana Theory Review, iv, No. 2 (1981), 33–50. A Schenkerian analysis of a movement that appears to be an incomplete rondo but, through this analysis, is shown to be a sonata-rondo movement. 1937. Ward, Martha Kingdon. “Mozart and the Clarinet,” in Music and Letters, xxviii (1947), 126–53. Ward briefly points out Mozart’s contacts with the clarinet and clarinetists and something about the late-18th-century instrument. Then

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she discusses all the works by Mozart that include it. After accounting for his infrequent uses of the clarinet before he moved to Vienna, Ward divides the works in the Vienna period by genre, among which is chamber music (pages 145–148). She gives a simple list of works containing the clarinet. 1938. Geidel, Stanley M. “Mozart’s Trio in E-Flat, K. 498, for Piano, Clarinet and Viola: An Analytical Examination of Melodic Relationships, a Comparative Study of Current Editions, and an Investigation of Contemporary Performance Practices.” DA dissertation. Ball State University, 1989. DAI Vol. li (August 1990), p. 336A. 169 pages. A comparison of urtext editions, interpretive editions, and the original manuscript to get an insight into how to perform this trio. 1939. Kratochvìl, Jirì. “Betrachtungen über die Urfassung des Konzerts für Klarinette und des Quintetts für Klarinette und Streicher von W.A. Mozart,” in Pavel Eckstein, German editor, Internationale Konferenz über das Leben und Werk W.A. Mozarts: Praha 27.–31. Mai 1956: Bericht (Prague: Mìr, novin. závody, [1956]), 262–71. ML 410.M9M474. Mozart wrote these 2 works for a newly invented bassett-klarinette by Anton and Johann Stadler. Since the original manuscripts are lost, Kratochvil bases the argument on the ranges of the instruments and the stylistic factors in the music compared to a known use of the bassett-klarinette in La Clemenza di Tito (Aria 9). 1940. Ward, Martha Kingdon. “Mozart and the Bassoon,” in Music and Letters, xxx (1949), 8–25. Except for a brief mention of serenades and divertimenti, Ward discusses the bassoon in every other context than chamber music. She considers the question of sonority in combination with other winds or strings. See also Eric Ohlsson, “The Quintets for Piano, Oboe, Clarinet, Horn and Bassoon by Wolfgang Amadeus Mozart and Ludwig van Beethoven” 1058. 1941. Leeson, Daniel N., and David Whitwell. “Mozart’s ‘Spurious’ Wind Octets,” in Music and Letters, liii (1972), 377–99. A scholarly study of the authenticity of K. Anh.C.17.01–5 and 17.07 wind octets and 10 movements in a Prague manuscript. Leeson and Whitwell provide extensive evidence for Mozart’s having written many octets from 1781 to 1787; they explain the importance of the term harmonie in Vienna c.1782–1825 for wind octets of 2 oboes + 2 clarinets + 2 horns + 2 bassoons; they consider Constanze’s letters

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and dealings with Johann Traeg, who sold a lot of Mozart’s music for Constanze including 4 Partitas for Harmonie which are now in the Prague University Library. All of this supports the authenticity of these octets. For Mozart’s influence on the chamber music of others, see: 1942. Sandu-Dediu, Valentina. “Mozarts Gegenwartigkeit in der Zeitgenossischen Musik: Werke von F. Weiss, A. Schnittke, V. Dinescu, R. Vlad, A. Stroe, T. Olah, H.-P. Turk und D. Dediu,” in MuzikologijaCasopis-Muzikoloskog-Instituta-Srpske-Akademije-Nauka-i-Umetnosti, No. 4 (2004), 15–24. Many contemporary composers quote excerpts from Mozart. In his chamber music, Ferdinand Weiss (b.1933) in his Amadeomania for Four Flutes (1990) used quotations from the last 3 Mozart symphonies, Eine kleine Nachtmusik, and piano concertos in A major and D minor. The collage Mozart (1978) for 2 violins by Alfred Schnittke is related to Mozart’s Pantomime for 2 violins, viola, and double bass K. 446, composed for the Carnival of 1783. Violeta Dinescu (b.1953) did not make direct quotations or stylistic references in her compositions “ … wenn der freude thranen fliessen” for violoncello and piano (1990) and the septet “auf der suche nach Mozart.” Rather, she integrated into her music only certain elements from Mozart’s music. Roman Vlad (b.1919), in his “Il magico flauto di Severino” for flute and piano, used quotations from “Die Zauberflote,” transforming them through serial and aleatoric procedures. Aurel Stroes (b.1932), in his “Sound introspections” for string trio (1994), uses a fragment from Mozart’s Symphony No. 40, transforming it through use of overtones. Tiberiu Olah (1928–2002) based his concerto “Obelisco per Wolfgang Amadeus” for saxophone and orchestra (1991) on a theme from Mozart’s phantasy for piano in C minor, K. 475. In 4 structures for his string quartet “Meditations on K. 499” (1975), Hans Peter Turk used 2 thematic elements from Mozart’s quartet K. 499. Finally, Dan Dediu used a theme from Mozart’s last work, K. 627, as a motto in his “Motto-Studien,” Op. 23 (1990). Georg Muffat 1653–1704 1943. Gore, Richard Taylor. “The Instrumental Works of Georg Muffat.” PhD dissertation. University of Rochester, 1955. v + 260 pages. Concentrates on the organ music but also considers sonatas and string suites.

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For Muffat’s influence on Corelli’s Sonate da Camera, see John Daverio’s article 286. Thea Musgrave b.1928 For a catalogue and discography of Musgrave’s chamber music and studies about it, see Donald L. Hixon, Thea Musgrave: A Bio-Bibliography, in BioBibliographies in Music, No. 1 (Westport [Connecticut]: Greenwood Press, 1984), 27–36. ML 134.M967H6.1984. ISBN 0-313-23708-5. Josef Myslivecek 1737–81 1944. Evans, Angela, and Robert Dearling. Josef Myslivecek (1737–1781): A Thematic Catalogue of His Instrumental and Orchestral Works. Munich/Salzburg: Katzbichler, 1999. ISBN 3-87397-132-1. ML156.5. M93E93.1999. 188 pages. Myslivecek, a Bohemian violinist and composer who knew Mozart, wrote a number of chamber pieces from duets to octets, which are listed on pages 32 to 113 of this catalogue. While most works are for strings with or without keyboard, there are also a few that include winds. Jacques-Christophe Naudot 1690–1762 1945. Underwood, Troy Jervis. “The Life and Music of Jacques-Christophe Naudot.” PhD dissertation. North Texas State University, 1970. UMI 71–573. DAI xxxi.7A, p. 3588. 373 pages. Biography and analysis of Naudot’s 24 published flute works (1726– 1752), among which are some sonatas. Franz Christoph Neubauer 1760–95 1946. Sjoerdsma, Richard Dale. “The Instrumental Works of Franz Christoph Neubauer (1760–1795).” PhD dissertation. Ohio State University, 1970. RILM 70–1898. UM 71–7568. DA xxxi.9A, p. 4825. 2 vols. I: xv + 398 pages; II: ii + 63 pages. Sjoerdsma offers a biography and discussion of Neubauer’s works, which besides 11 symphonies and 3 concertos is mostly chamber music: 22 quartets (6 are flute quartets), 16 trios, 43 duos, and miscellaneous pieces for piano with others. Basically Neubauer was a conservative, yet he employed far-ranging modulations in his

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development sections. In some quartets, the 4 instruments are equal; in others, the first violin dominates. Olga Neuwirth 1968 1947. Drees, Stefan. “Klangbefragung und Diskurs: Olga Neuwirths Kammermusik für Streicher,” in Dissonanz/Dissonance, No. 89 (March 2005), 18–23. Abstract in French. An explanation of the unusual sonorities in the Austrian Neuwirth’s 2 string quartets (1995 and 1999), trio for 2 violins and wood drum (1999), and a solo for viola d’amore (1995–6). Christoph Nichelmann 1717–c.1761 For a catalogue of his music, see Douglas A. Lee, The Works of Christoph Nichelmann: A Thematic Index, in Detroit Studies in Music Bibliography, No. 19 (Detroit: Information Coordinators, 1971), ML 134.N4L4. 100 pages. 1948. Lee, Douglas Allen. “The Instrumental Works of Christoph Nichelmann.” PhD dissertation. University of Michigan, 1968. RILM 68–3373. UM 68–13348. DA xxix.4A, pp. 1242–3. 2 vols. I: 307 pages; II: 130 pages. Lee gives a biography of Nichelmann and devotes a chapter to his chamber music; he was primarily known as a keyboard player. The chamber music is apparently his least important music. Carl Nielsen 1865–1931 1949. Simpson, Robert, “The Chamber Music,” in Carl Nielsen: Symphonist (New York: Taplinger, 1979), 153–161. ML 410.N625S48. ISBN 0-8008-1260-3. Simpson gives simplistic analyses of the major chamber pieces: 4 string quartets, 2 sonatas for violin + piano, and a wind quintet (other works are mentioned). He makes highly subjective comments, with vague references to the works of other composers. 1950. Hamburger, Povl. “Orchestral Works and Chamber Music,” in Jörgen Balzer, ed., Carl Nielsen: Centenary Essays (Copenhagen: NYT Nordisk Forlag – Arnold Busk, 1965), 19–46. HML 4281.15.6. Hamburger accounts for the early chamber music (String Quartet [1888, rev. 1900 as Op. 13], and String Quintet [1888]). He analyzes

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briefly the Quartet in F minor Op. 5 (1890), Sonata in A for violin + piano (1895), String Quartet in E-flat Op. 14 (1898), String Quartet in F Op. 44 (1906, rev. 1923), and Violin + Piano Sonata No. 2 (1912). He also mentions the Woodwind Quintet Op. 43. 1951. Krummacher, Friedhelm. “Steps to Modernism: Carl Nielsen’s String Quartets,” in Carl-Nielsen-Studies, ii (2005), 89–131. Krummacher provides an analysis of all of Carl Nielsen’s string quartets and quartet movements including his student works and the 4 quartets published as Opera 13, 5, 14, and 44. He studies the melodies, rhythms, textures, developments, tonal structures, harmonies, and counterpoint of each piece separately and links these, where relevant, from 1 work to the next. This is the definitive study of these works. 1952. Petersen, Elly Bruunshuus. “Carl Nielsen, Quartet for Two Violins, Viola, and Cello, op. 5: a Glance into the Composer’s Workshop,” in Carl Nielsen Studies, ii (2005), 152–95. See also Krummacher’s “Nationaler Ton und Gattungstradition: über Streichquartette von Nielsen und Stenhanmmar” 701. Luigi Nono 1924–90 1953. Metzger, Heinz-Klaus. “Wendepunkt Quartett?” in Musik-Konzepte, xx Luigi Nono (July 1981), 93–112. Metzger expresses the concern that Nono, the Italian Communist leader and publicist, turned to a 19th-century middle class art medium: the private, non-political string quartet. But he shows that Nono considers this quartet to be a political message with the smallest means of expression—there are messages for the players to feel and think, even if they are not expressed aloud. Michael Nyman 1944 1954. Nimczak, Ortwin. “Im Spagat zwischen Bull und Schoenberg: Eine analytische Annäherung an Michael Nymans Streichquartett Nr. 1,” in Musik & Bildung, xxxii (January–March 2000), 22–30. Pauline Oliveros 1932 1955. Subotnick, Morton. “Pauline Oliveros: Trio,” in Perspectives of New Music, ii, No. 1 (1963), 77–82.

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The trio is for flute + piano + page turner, whose role is to properly prepare the piano. Subotnick shows concern with the lack of growth as the piece progresses—the opening development is not expanded later, except in time. The work contrasts 2 basic motivic units. Georges Louis Onslow 1784–1853 1956. Franks, Richard Nelson. “George Onslow (1784–1853): A Study of his Life, Family, and Works.” PhD dissertation. University of Texas, 1981. UMI 81–19290. DAI xlii.11A, p. 4639. 1044 pages. An extensive biography with a complete list of his works and a discussion of all his compositions in order of their composition. 1957. Nobach, Christiana. Untersuchungen zu George Onslows Kammermusik. Kassel: Bärenreiter, 1985. x + 393 pages. A scholarly study and thematic-chronological catalogue. Nobach establishes sources and dates and analyzes the chamber music in 4 stylistic periods. She pays attention to the nature of particular movements, thematic development, and form. She looks at a large number of string quartets and quintets, piano trios, a piano quintet, a piano sextet, a woodwind quintet, and a nonet and septet for mixed instruments. 1958. Hayes, Robert. “Onslow and Beethoven’s Late Quartets,” in The Journal of Musicological Research, v (1985), 273–96. A fascinating, well-documented study of the reaction of the French public of c.1830–60 and, in particular, of Onslow to the late Beethoven quartets. Onslow wrote 70 string quartets, mostly after 1830. Although since the second half of the 19th century, it has been assumed Onslow was primarily influenced by Mozart, Onslow was thoroughly acquainted with every note in Beethoven’s quartets. The influences of Beethoven’s Opp. 18 and 59 are obvious, but Op. 132 and the other late quartets also affected Onslow. Before 1850, the Beethoven influence on Onslow was recognized by the French public, but after that time it was not. The change in attitude toward the Beethoven influence on Onslow was the result of the growth of the Beethoven cult by the 1850s; it was inconceivable after 1850 that Onslow would be so presumptuous as to risk comparison with Beethoven or could try to add to Beethoven. So Mozart, who was held in less esteem, was substituted. Carlos d’Ordoñez 1734–86 For a catalogue of his music, see A. Peter Brown, Carlo D’Ordoñez 1734–1786: A Thematic Catalogue, in Detroit Studies in Music Bibliography, No. 39

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(Detroit: Information Coordinators, 1978). ML 134.O72A15. ISBN 091177289-8. 234 pages. 1959. Brown, Alfred Peter. “The Chamber Music with Strings of Carlos d’Ordoñez: A Bibliographic and Stylistic Study,” in Acta Musicologica, xlvi (1974), 222–72. An exhaustive, scholarly attempt to authenticate the chamber music (including 27 string quartets, 21 trios for 2 violins + bass, and other combinations) and date it approximately. Brown makes stylistic and formal analyses. Johann Pachelbel 1653–1706 1960. Nolte, Ewald Valentin. “The Instrumental Works of Johann Pachelbel (1653–1706): An Essay to Establish his Stylistic Position in the Development of the Baroque Musical Art.” PhD dissertation. Northwestern University, 1954. UMI 54–2584. DA xiv.10, p. 1758. Nolte concentrates on the keyboard works but makes passing references to chamber music. This seems superficial. 1961. Beckmann, Gustav. “Johann Pachelbel als Kammerkomponist,” in Archiv für Musikwissenschaft, i (1918–19), 267–74. Brief discussion of the chamber music and reproduction of a sarabande for 2 violins + 2 violas + cembalo and a canon for 3 violins + cembalo. Niccoló Paganini 1782–1840 For a catalogue of his works, including chamber music, see Maria Rosa Moretti and Anna Sorrento, Catalogo Tematico delle Musiche di Niccoló Paganini (Genoa: Comune di Genova, 1982). ML 134.P145A2.1982. xxvi + 422 pages. 1962. Prefumo, Danilo. “I Quartetti con chitarra di Paganini nella storia del quartetto italiano,” in Chigiana, xxxviii (1982), 113–35. A starting point for more detailed studies on these works. Because of the rediscovery of manuscripts formerly in private possession, it is now possible to study the 15 guitar quartets of Paganini. Much research in the 50 years prior to this article also enabled the author to place them in the long history of Italian chamber music that was not interrupted during the late 18th century; Paganini’s immediate predecessors were Cambini, Bruni, and Viotti. His 15 quartets were written 1813–1820 and are discussed by Prefumo in general terms.

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1963. Sebastiani, Adriano. “Niccoló Paganini and His Chamber Music with Guitar.” Soundboard, xxxi, Nos. 2–3 (2005), 51–6. Part I. Trl. Richard M. Long. Paganini’s published chamber music consists of 6 sonatas for violin and guitar Op. 2 (originally Op. 9), 6 sonatas for violin and guitar Op. 3 (originally Op. 10), 3 quartets for violin, viola, violoncello, and guitar Op. 4, and 3 quartets for the same instruments Op. 5. Several important manuscript collections of Paganini’s chamber music emerged in the 1990s, including that once owned by his only official pupil, Sivori, so that it is necessary now to catalogue the vastly increased repertory of such music. So far, Part II of this catalogue has not yet been published. John Knowles Paine 1839–1906 1964. Schmidt, John C. “Chamber Music,” in The Life and Works of John Knowles Paine, in Studies in Musicology, No. 34 (Ann Arbor: UMI Research Press, 1980), 311–38. 32 examples. ML 410.P138S3. ISBN 0-8357-1126-9. Schmidt discusses each chamber piece—an early quartet, piano trio, violin + piano sonata and other works for violin + piano. He gives sources and history, and describes each movement’s themes and keys. But there are no real analyses. The first half of this large book is a biography; the second half deals with Paine’s compositions. Ivan Parik 1936 1965. Bubnas, Juraj. “Idea komornosti ako sucast’ individualneho styloveho formovania Ivana Parika, ziaka Alexandra Moyzesa,” in Chalupka, L’ubomir, K pocte Alexandra Mozyesa a L’udovita Rajtera (Bratislava: Stimul/Filozoficka Fakulta Univerzity Komenskeho, 2007). The role of chamber music in the individual stylistic development of Ivan Parik. Arvo Pärt 1935 1966. Obenza, Markdavin. “Analysis of Works by the Twentieth-Century Composers Arvo Pärt, Igor Stravinsky, and Elliot Carter.” MA thesis. University of Washington, 2006. Obenza discusses Arvo Pärt’s Fratres, a string quartet.

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Krzysztof Penderecki 1933 For general information about Penderecki and his chamber music, see Cindy Bylander, Krzysztof Penderecki: A Bio-Bibliography. Westport (CT): Praeger, 2004. ISBN 0313256586. 304 pages. Barbara Pentland 1912–2000 1967. Dixon, Gail Susan. “The String Quartets of Barbara Pentland,” in Canadian University Music Review/Revue de Musique des Universités Canadiennes, xi (1991), 94–121. Johann Christoph ( = John Christopher) Pepusch 1667–1752 1968. Fred, Herbert William. “The Instrumental Music of Johann Christoph Pepusch.” PhD dissertation. University of North Carolina, 1961. UM 62–3121. DA xxiii:2, pp. 648–9. 2 vols. I: iv + 101 pages; II: 150 pages of music. Fred provides a biography, bibliography, and analyses of 127 violin sonatas, 14 flute sonatas, and other chamber works. They merge da chiesa and da camera characteristics and retain the Baroque slow-fast-slow-fast order of movements, mostly in binary form with continuous expansion. Giovanni Battista Pergolesi 1710–36 For a catalogue of his chamber music, see Marvin E. Paymer, Giovanni Battista Pergolesi 1710–1736: A Thematic Catalogue of the Opera Omnia with an Appendix Listing Omitted Compositions, in Thematic Catalogues in Music, No. 1 (New York: Pendragon, 1977), 3–12. ML 134.P613A35. ISBN 0-918728-01-0. For writings about Pergolesi’s supposed chamber music (only 1 piece of chamber music attributed to him is actually authentic), see Marvin E. Paymer and Hermine W. Williams, Giovanni Battista Pergolesi: A Guide to Research, in Garland Composer Resource Manuals, Vol. 26. New York: Garland Publishers, 1989. ISBN 0-8240-4595-5. ML134.P613.P6.1989 or ML134.P613A35. xvi + 190 + 4 pages. 1969. Claydon, Humphrey. “Three String Quartets Attributed to Pergolesi,” in Music and Letters, xix (1938), 453–9. Claydon provides documentation for and stylistic analysis of 3 quartets copied in England in the late-18th century that are attributed to Pergolesi. He does not make a final statement on the authenticity of Pergolesi’s name, but shows enthusiastic regard for the works.

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1970. Stover, Edwin L. “The Instrumental Chamber Music of Giovanni Battista Pergolesi.” PhD dissertation. Florida State University, 1964. UM 65–306. DA xxvi.3, p. 1690. 160 pages. Pergolesi’s miscellaneous orchestral sonatas are more Baroque than Classical (for example, the movements are slow-fast-slow-fast), but the chamber trio sonatas are more progressive and point to Classical concepts (the movements are fast-slow-fast, with many first movements and some others as well showing sonata form). Stover assumes these works are actually by Pergolesi, but see 1971. 1971. Cudworth, C.L. “Notes on the Instrumental Works Attributed to Pergolesi,” in Music and Letters, xxx (1949), 321–8. Among these works are several miscellaneous sonatas, which may or may not be genuine, but the 14 trio sonatas certainly are not by Pergolesi but by a slightly later composer. Carlo Perinello 1877–1942 1972. Cantarini, Aldo. “Nuovi Compositori Italiani di Musica da Camera: Carlo Perinello,” in Rivista Musicale Italiana, xxii (1915), 690–715. Cantarini analyzes a quartet and quintet (1905) by Carlo Perinello. In the quintet, the melodic and harmonic climaxes are influenced by Brahms and Schumann. The quartet (1908–1909) borders on being a masterpiece and is performed often in Germany; it has a more plastic form, is more impressionistic, and resembles Beethoven’s late quartets. John M. Perkins 1935 1973. Spies, Claudio. “John M. Perkins: Quintet Variations,” in Perspectives of New Music, ii, No. 1 (1963), 67–76. An analysis of the quintet (flute + clarinet + trumpet + piano + percussion). It is in 31 sections, which enables Perkins to use all possible combinations of instruments and solos. George Perle 1915–2009 1974. Moss, Lawrence. “George Perle: String Quintet,” in Perspectives of New Music, iii, No. 1 (1964), 136–9. Moss supplies a brief review of the quintet (1958; 2 violins + 2 violas + cello), which is amazingly catholic considering the highly advanced

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theoretical works of Perle. There is symmetrical, vertical, and horizontal construction. 1975. Rosenhaus, Steven L. “Harmonic Motion in George Perle’s Wind Quintet, No. 4.” PhD dissertation. New York University, 1995. DAI Vol. lvi (Apr 1996), p. 3789A. 323 pages. Rosenhaus explains Perle’s methods of composition demonstrated in this quintet. He includes some Schenkerian analysis as well as use of Perle’s own theories of tonality and synoptic relationships. Johann Friedrich Peter 1746–1813 1976. Bethlehem Conference on Moravian Music. “Johann Friedrich Peter (1746–1813): His World and Beyond,” in conference Bulletin, The Second Bethlehem Conference on Moravian Music, October 24–27, 1996, page 1. A brief biography of Peter, a composer of 6 string quintets, who lived in America after 1770. Goffredo Petrassi 1904 For a catalogue of his chamber music, see Claudio Annibaldi, Goffredo Petrassi: Catalogo delle Opere e Bibliografia (Milan: Suvini Zerboni, 1971), systematic index p. 110. ML 134.P615A6. 1977. Stone, Olga. “Petrassi’s Sonata da Camera for Harpsichord and Ten Instruments: A Study of Twentieth-Century Linear Style,” in The Music Review, xxxvii (1976), 283–94. Stone provides a simple, not too technical, analysis of the motives of this piece for harpsichord + flute + oboe + clarinet + bassoon + 2 violins + 2 violas + cello + bass. She regards this piece as transitional in Petrassi’s career from neo-classic to serial. Johann Pezel 1639–94 Although Pezel’s turmmusik was never considered chamber music in the 17th century (it was outdoor music), it has been considered chamber music by 20th-century wind players since it fits the modern definition of chamber music as solo ensemble music. For a catalogue of his music, see Elwyn A. Wienandt, Johann Pezel (1639–1694): A Thematic Catalogue of his Instrumental Works, in Thematic Catalogues in Music, No. 9 (New York: Pendragon, 1983). ML 134.P618A35.1983. ISBN 0-918728-23-1. xxxiii + 102 pages.

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1978. Wattenbarger, James Albert. “The Turmmusik of Johann Pezel.” PhD dissertation. Northwestern University, 1957. UMI 58–4372. DA xviii.2, p. 609. 298 pages. Wattenbarger gives a history and analysis of Pezel’s Hora Decima (40 sonatas) and Fünffstimmigte blasende Musik (76 pieces), based on incomplete evidence and the writings of Arnold Schering. Post-World War II political conditions inhibited this study. In an appendix, 29 pieces are reproduced in score. Hans Pfitzner 1869–1949 1979. Henderson, Donald Gene. “Hans Pfitzner: The Composer and his Instrumental Works.” PhD dissertation. University of Michigan, 1963. UM 63–4965. DA xxiv.2, p. 766. 437 pages. Henderson analyzes 13 specific works, most of which are chamber music, and surveys all the instrumental works categorically by form, harmony, melody, orchestration, meter and rhythm, and expression. He considers the social conditions in which Pfitzner worked and all of his writings on music. Pfitzner’s creativity stretched from the period of Brahms through Schoenberg and exhibits the changing characteristics of the times. 1980. Wiesend, R. “Nur ein Jugendwerk? Zur Einspielung von Pfitzners Quartetten d-Moll und cis-Moll,” in Mitteilungen der Hans PfitznerGesellschaft, lix (1999), 65–6. On rehearsing Pfitzner’s 2 string quartets in D minor and C-sharp minor. 1981. Rectanus, Hans. “Ein wiederaufgefundenes Streichquartett Hans Pfitzners,” in Die Musikforschung, xxii (1969), 489–95. Rectanus rediscovers a String Quartet in D minor, which Pfitzner wrote in 1886 when he was 17 and which he had entered into a contest in Frankfurt am Main. He provides a brief description, with excerpts of all 4 movements. 1982. Vogel, Johann Peter. Hans Pfitzner: Streichquartett cis-moll op. 36. Munich: W. Fink, 1991. ISBN 3-7705-2616-3. MT145.P49V640.1991. 72 pages. This is a brief, partial, but important biography explaining the tragic context in which Pfitzner wrote his third string quartet (1925). It is followed by a thematic, formal, and tonal analysis (the piece is cyclic) and reflections on the contrapuntal nature of this late piece. At the end, Vogel publishes various letters to and from Pfitzner concerning

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the quartet—including correspondence with Hindemith whose Amar Quartet premiered the piece on November 11, 1925, in Berlin. 1983. Rectanus, Hans. “Hans Pfitzners Op. 36 oder ‘wie analysiert man Psychogramme?’” in Mitteilungen der Hans Pfitzner-Gesellschaft, No. 55 (1995), 49–51. Analyzes the third string quartet, Op. 36. 1984. Truscott, Harold. “The Importance of Hans Pfitzner: II: The Chamber Music,” in Music Survey, i (1948), 37–42. Truscott dwells at length on Pfitzner’s use of non-dominant preparation of returns to the tonic—a device he learned from Schubert (the most important model for Pfitzner). He concentrates on the Piano Quintet Op. 23. 1985. Rectanus, Hans. “Pfitzners Jugend-Trio B Dur (1886),” in Mitteilungen der Hans Pfitzner-Gesellschaft, No. 43 (September 1981), 105–9. Pfitzner wrote 3 early trios in B-flat, E-flat and E, which were presumed lost; but now the B-flat Trio has turned up: movement 1 in Vienna and movements 2 and 3 in Strassburg. The work was performed in 1980 and several reviews followed. Wenzel ( = Václav) Pichl 1741–1805 1986. Postolka, Milan. “Pichl, Václav,” in The New Grove 1. A brief biography and outline bibliography of works by and about Pichl, a Czech violinist well-known to Haydn and Mozart. See also R. Kolisko, “Wenzel Pichls Kammermusik” (PhD dissertation. University of Vienna, 1918). According to Slonimsky 4, page 1772, Pichl wrote 172 string quartets and much other chamber music for strings, but Postolka mentions only 18 string quartets, 45 string or flute trios, and duets. Willem Pÿper 1894–1947 As a general reference on Pijper see W C. M. Kloppenburg, Willem Pijper (1894–1947): thematisch-bibliografische Catalogus van zijn Werken en biografische Schets. Zutphen: Walburg Pers, 2005. ISBN 9057303795. 96 pages. With CD ROM. 1987. Hoogerwerf, Frank William. “The Chamber Music of Willem Pÿper (1894–1947).” PhD dissertation. University of Michigan, 1974. UM 75–718. DA xxxv.8A, pp. 5445–6. xiv + 469 pages.

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An historical, biographical, and analytical study of the most important Dutch composer since Sweelinck. The pieces include 5 string quartets, 4 wind ensembles, 2 piano trios, various sonatas for violin, cello and flute, and a few other pieces, all composed 1913–1946 but mostly during the 1920s. Pÿper achieved unity through the use of germ cells that grew during a piece. Melody dominates, and the resulting harmony and counterpoint become polytonal. Hoogerwerf analyzes in detail string quartets Nos. 1, 3–5, Cello Sonata No. 1, Violin Sonata No. 2, Flute Sonata, and the Septet. 1988. Dickinson, Peter. “The Instrumental Music of Willem Pÿper (1897 [sic]-1947),” in The Music Review, xxiv (1963), 327–32. Brief overview of Pÿper’s works, which include many chamber pieces. Dickinson points out his use of “germ cells” after 1919 as the basis of construction, as in the Septet (1920), String Quartets No. 2 (1920), No. 3 (1923), and No. 4 (1928), and Sonata No. 1 for violin + piano (1919). He includes a short bibliography. 1989. Ritsema, Herbert. “The Germ Cell Principle in the Works of Willem Pÿper (1894–1947).” PhD dissertation. University of Iowa, 1974. UMI 75–1247. DAI xxxv.7A, p. 4601. 134 pages, 106 examples. Ritsema gives a history of Dutch music c.1900, Pÿper’s biography, and a definition of “germ cell” as derived from César Franck and Vincent D’Indy and used in Pÿper’s works. Among the works analyzed are the septet, sextet, and sonata for flute + piano. 1990. Hoogerwerf, Frank William. “The String Quartets of Willem Pÿper,” in The Music Review, xxxviii (1977), 44–68. This is an informative analysis of form, melodic and scalar organization, timbre, cyclic elements, and tonality in each of the 5 quartets. Since the quartets span Pÿper’s lifetime, they demonstrate considerable changes in attitude and structure. Hoogerwerf compares them to Bartók’s and Ravel’s quartets. Boris Pillin b.1940 1991. Jennings, Vance Shelby. “Selected Twentieth Century Clarinet Solo Literature: a Study in Interpretation and Performance.” DMA dissertation. University of Oklahoma, 1972. UMI 73–9159. DAI xxxiii.10A, p. 5765. 331 pages. Concerned with interpreting for performance and teaching chamber pieces by Pillin, Milhaud, Martinú, Ward-Steinman, and Rochberg. The dissertation includes an annotated list of solo clarinet literature of the 20th century.

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Paul Pisk 1893–1990 1992. Collins, Thomas William. “The Instrumental Music of Paul A. Pisk.” DMA dissertation. University of Missouri–Kansas City, 1972. UM 72–29457. DA xxxiii.5A, p. 2408. 207 pages. A survey of Pisk’s instrumental works, almost half of which are pieces of chamber music. His basic sound is atonal with motivic unity, as befits a pupil of Schoenberg. Walter Piston 1894–1976 1993. Pollack, Howard. Walter Piston. Ann Arbor: UMI Research Press, 1982. ML 410.P593P6.1982. ISBN 0-8357-1280-X. PhD dissertation. Cornell University, 1981. A biography and stylistic analysis of Piston’s compositions, including numerous chamber works. The analyses often quote the opinions of others. This book is particularly valuable for its extensive bibliographies, including a separate bibliography for each major Piston composition. 1994. Donahue, Robert. “A Comparative Analysis of Phrase Structure in Selected Movements of the String Quartets of Bela Bartók and Walter Piston.” DMA dissertation. Cornell University, 1964. UMI 64–8732. DA xxviii.8A, pp. 3207–8. 161 pages. Donahue compares Piston’s Quartet No. 4, movement 2 to Bartók’s Quartet No. 2, movement 1, and Piston’s Quartet No. 2, movement 4, to Bartók’s Quartet No. 5, movement 1. He considers form and phrase structure in an historical framework from the Classical era to the 20th century and in the 4 movements. He contrasts the Romantic freedom more evident in Bartók with the Classic order and symmetry more apparent in Piston. In other regards, the 2 composers are very much alike. Ignaz ( = Ignace) Joseph Pleyel 1757–1831 The basic catalogue of Pleyel’s music is Rita Benton, Ignace Playel: A Thematic Catalogue of his Compositions, in Thematic Catalogues in Music, No. 2 (New York: Pendragon, 1977). ML 134.P74A13. ISBN 0-918728-04-5. xxx + 482 pages. 1995. Zsako, Julius. “The String Quartets of Ignace J. Pleyel.” PhD dissertation. Columbia University, 1975. UM 75–27478. DAI xxxvi.6A, pp. 3207–8. 2 vols. I: 414 pages; II: 353 pages.

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Although capable of writing movements as good as Mozart’s or Haydn’s, Pleyel could not sustain such standards throughout a work. He “was often unable to prolong intensity in thematic growth.” Zsako gives a biography of Pleyel, a discussion of the authentic 57 string quartets, and a bibliography in Volume I. There are 2 thematic catalogues with 370 incipits, bibliographical information, and a transcription of 3 selected quartets in Volume II. Zsako analyzes the styles and the forms of the quartets and places them in their sociological milieu. 1996. Klingenbeck, Josef. “Ignaz Pleyel: sein Streichquartett im Rahmen der Wiener Klassik,” in Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, Band 25, also entitled Festschrift für Erich Schenk (Graz/Vienna/Köln: Hermann Böhlaus Nachf., 1962), 276–297. ML 55.S324 ( = ML 113.S44). “Pleyel: sein Leben und seine Komposition für Streichquartett.” PhD dissertation. Munich, 1928. Klingenbeck points out Pleyel’s debt to Haydn, his teacher. This is a well-documented, in-depth look at this relationship from a biographical and stylistic standpoint. Unfortunately, the author relies on mostly outdated material in discussing Haydn. He considers also the Italian influence on Haydn and on Pleyel. He concludes that Pleyel cannot be measured against Haydn, Mozart, and Boccherini but, on a lower plain, he has much to offer. Those 3 were pioneers, while Pleyel was dependent on traditional Classical form and expression; they wrote for connoisseurs, while Pleyel wrote for the public. 1997. Kim, Jiesoon. “Ignaz Pleyel and his Early String Quartets in Vienna.” PhD dissertation. University of North Carolina Chapel Hill, 1996. DAI Vol. lvii (November 1996), 1902A. 321 pages. Analyzes string quartets Opp. 1–9 of Pleyel and their popularity over Haydn’s and Mozart’s quartets from 1782 to 1786. 1998. Wright, Ben Ernest. “The Three Quintets for Flute, Oboe, Violin, Viola and Violoncello by Ignaz J. Pleyel: Edition and Commentary.” EdD dissertation. University of Northern Colorado, 1971. UMI 72–3322. DAI xxxii.8A, p. 4056. 299 pages. A non-scholarly edition designed to teach young performers an 18thcentury style of performance. Wright discusses ornaments and editing of phrasing, articulation, and bowing. Ángel Martín Pompey 1902–2001 1999. Heine, Christiane. “Ángel Martín Pompey: Cuarteto en Re mayor para instrumentos de cuerda (1960),” in Cambio de tercio: Música

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española para cuarteto de cuerda, José Antonio Gómez Rodríguez, ed. (Oviedo: Caja de Asturias, 1995), 125–41. 2000. Heine, Christiane. “El compositor madrilène Ángel Martín Pompey (*1902): algunas consideraciones en torno a sus Cuartetos de cuerda no.3 (1938–39) y no. 4 (1946),” in Actas del Congreso Des Décadas de Cultura Artistica en el Franquismo (1936–1956). Granada, 21–24 de febrero de 2002, Ignacio Henares Cuéllar, María Isabel Cabrera García, Gemma Pérez Zaiduondo and José Castillo Ruiz, eds. (Granada: Proyecto Sur, 2001), ii, 259–85. 2001. Heine, Christiane. “La utilización de textos en el género del cuarteto de cuerda: Eucaristía de Ángel Martín Pompey (1902–2001) en comparación con el Opus 10 de Arnold Schönberg,” in Revista de Musicología, xxiv (2001), 239–80. These are a series of detailed articles on the 9 string quartets of the Spanish composer Ángel Martín Pompey. In addition, Pompey’s Eucaristía is for string quartet and soprano and is modeled after Schoenberg’s Second String Quartet. Manuel M. Ponce 1882–1948 2002. Barrón Corvera, Jorge. “Manuel M. Ponce’s Trio for Violin, Viola, and Piano: an Unpublished Manuscript.” Journal of the American Viola Society, xvii, No. 3 (2001), 27–30. After a quick review of Ponce’s published and unpublished chamber works, Barrón Corvera provides a discussion of a single, 8-minutelong unpublished movement for violin, viola, and piano dating from c.1929 in Paris. It is impressionistic with some neoclassical and neoromantic elements. The manuscript is in the School of Music of the Universidad Nacional Autónoma de México. Quincy Porter 1897–1966 2003. Frank, Robert Eugene. “Quincy Porter: A Survey of the Mature Style and a Study of the Second Sonata for Violin and Piano.” DMA dissertation. Cornell University, 1973. UMI 73–16070. DAI xxxiv.1A, pp. 352–3. 303 pages. Biography and stylistic survey of the mature works. Frank provides linear analysis, harmonic reduction, and rhythmic, motivic and scalar analysis of the sonata. Porter achieved tonal stability and a scalar organization—termed “scalar modulation”—that may be Porter’s most original contribution to 20th-century American music.

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Francis Poulenc 1899–1963 2004. Daniel, Keith W. “Chamber Music,” in Francis Poulenc: His Artistic Development and Musical Style (Ann Arbor: UMI Research Press, 1982), 101–33. ML 410.P787D3. ISBN 0-8357-1284-2. Revision of PhD dissertation. State University of New York, Buffalo, 1980. Daniel offers general comments about the chamber music and nontechnical analyses of the styles and forms in 13 pieces. This is for students and laypersons. The chamber music is mostly for woodwinds, rarely for strings or brass, with the piano often assuming a leading role. They fall into 3 periods: 1917–39, 1940–50, and 1957–63. 2005. Poulin, Pamela. “Three Stylistic Traits in Poulenc’s Chamber Works for Winds.” PhD dissertation. University of Rochester, 1983. UMI 83–15558. DAI xliv.5A, p. 1238. 281 pages. Poulin notes 3 principal styles in Poulenc’s chamber music: experimental, neo-classic, and popular, and finds all 3 throughout his career, even sometimes in the same piece. Poulin divides the works chronologically (early 1920s; late 1920s – 1944; and 1957–62). Mel Powell 1923–98 2006. Waldrep, Mark Davis. “An Analysis of the String Quartet (1982) by Mel Powell.” PhD dissertation. University of California at Los Angeles, 1986. DAI Vol. xlvii (January 1987), p. 2367A-8A. 71 pages. Considers “the formal, temporal, harmonic, melodic and stylistic aspects” of Powell’s work. 2007. Melbinger, Timothy Gordon. “An Analysis of Mel Powell’s Piano Trio ‘94’.” PhD dissertation. Brandeis University, 1999. DAI Vol. lx (August 1999), p. 282A. 132 pages. A technical analysis using 3 criteria: “gestural language emphases, pacing and referential pitches.” Ferdinand Praeger 1815–91 2008. Ryberg, James Stanley. “Four String Quartets by Ferdinand Praeger: An Analytical Study.” PhD dissertation. Northwestern University, 1978. UMI 79–03355. DAI xxxix.8A, p. 4587. 284 pages. Ryberg offers a Schenkerian analysis of quartets Nos. 11, 16, 21, and 22, found in a late-19th-century manuscript in the Moldenhauer

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Archive at Northwestern University. He claims that this analysis will assist performers. Alfred Prinz b.1930 2009. Waldecker, Todd. “Alfred Prinz, His Contribution as a Composer through an Analysis of Six Compositions for Clarinet.” DMA dissertation. Indiana University, 2003. ix + 99 leaves. Waldecker describes Prinz’s Discussion for 2 clarinets (1977); Sonata for clarinet and piano (1989); Concerto a cinque for 3 B-flat clarinets, bass clarinet and piano (1993); Monolog for solo clarinet (1994); Bloomington quartet for 4 B-flat clarinets (1995); and Trio for E-flat, B-flat and bass clarinet (1997). Sergey Sergeyevitch Prokofiev 1891–1953 2010. Soroker, Iakov L’vovich. Kamerno-Instrumental’nye Ansambli S. Prokof’eva. Moscow: Sovetskii Compositor, 1973. MT 145.P8S7. 104 pages. In Russian. Soroker provides a scholarly study of Prokofiev’s chief chamber music, piece by piece. It is a moderately technical analysis of harmony, rhythm, bowing styles (for example, why staccato is used), and so on. It is for performers and students. It has an international discography. 2011. Blok, V. Violenchel’noe Tvorchestro Prokof’eva. Moscow: Muzyka, 1973. 184 pages. In Russian. Blok gives an extensive musical analysis of Prokofiev’s works for cello without orchestra: Ballade Op. 15, Adagio Op. 97 bis, and 2 sonatas Opp. 119 and 133. Gaetano Pugnani 1731–98 2012. Müry, Albert. Die Instrumentalwerke Gaetano Pugnanis: ein Beitrag zur Erforschung der frühklassischen Instrumentalmusik in Italien. Basel: G. Krebs, 1941. ML 410.P9M8. vii + 109 pages. PhD dissertation. 1940. This is a substantial biography of Pugnani, pupil of Somis and teacher of Viotti, and a history of the violin sonata from Corelli to Pugnani. Müry considers his violin sonatas, violin duets, trio sonatas, harpsichord + flute + violin + viola + cello quintet, string quartets and quintets, and also his orchestral music. He dwells laboriously on tempos, meters, forms, and keys and makes shallow generalizations. Within a scholarly framework, the analyses are simplistic.

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Henry Purcell 1659–95 For a catalogue of Purcell’s chamber music, see Franklin B. Zimmerman, Henry Purcell 1659–1695: An Analytical Catalogue of his Music (London: Macmillan/ New York: St. Martin’s, 1963), 372–399. ML 134.P95Z5. To identify a given melody by Purcell, see Zimmerman, Henry Purcell 1659–1695: Melodic and Intervallic Indexes to his Complete Works (Philadelphia: Smith-EdwardsDunlap, 1975). ML 134.P95A42. ISBN 08443-0068-3. xi + 133 pages. 2013. Holman, Peter. Henry Purcell. Oxford: Oxford University Press, 1994. ML410.P93H63.1994. ISBN 0-19-816340-1. Chapter 3 (pages 60–101) discusses the consort compositions by Purcell, both orchestral and chamber. Holman distinguishes between them and then goes into considerable detail about the historical position of each group of works. He includes formal, stylistic, and textural analyses, as well as sources and instrumentation. This is an excellent survey for the advanced student, and the entire book is an attempt to bring readers up-to-date on current Purcell research on the 300th anniversary of the composer’s death. 2014. Holman, Peter. “Consort Music,” in Michael Burden, The Purcell Companion (Portland [OR]: Amadeus Press, 1995), 254–96. An historical discussion of Purcell’s consort music and a very good introduction to them. 2015. Dart, Thurston. “Purcell’s Chamber Music,” in Proceedings of the Royal Musical Association, lxxxv (1958–9), 81–93. Dart reviews the sources of Purcell’s chamber music, in 4 categories: 12 trio sonatas (1683); 10 trio sonatas (1697); 15 fantasias and In nomines; and miscellaneous dances, grounds, and other works. Dart adds a few “footnotes” to Tilmouth’s article. The chamber organ was Purcell’s preferred continuo instrument. The simplified continuo part for organ allows the bass viol to go off freely (it is not needed for sustaining). Thus, Dart criticizes the wrong treatment of the continuo and bass viol in modern editions of the 1697 collection and similarly in the isolated sonata in G minor for violin + continuo (which must originally have been for violin + bass viol + organ). He considers the introduction of ornaments, the dating of the fantasias and In nomines, and the use of continuo. 2016. Tilmouth, Michael. “The Technique and Forms of Purcell’s Sonatas,” in Music and Letters, xl (1959), 109–21. Tilmouth places the sonatas in their historical perspective and considers the sources of the 1683 and 1697 sonatas, their compositional techniques, and the influences of especially Cazzati, Colista, and G.B. Vitali upon Purcell.

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2017. Burden, Michael. Purcell Remembered. Portland (OR): Amadeus Press, 1995. ISBN 1-57467-002-6. ML410.P93B87.1995. xxv + 188 pages. Chapter 3 (pages 33–42) contains primary documents by Roger North and others of Purcell’s time discussing the consort sonatas. 2018. Parsons, Pleasants Arrand. “Dissonance in the Fantasias and Sonatas of Henry Purcell.” PhD dissertation. Northwestern University, 1953. UMI 53–2079. DA xiii.6, pp. 1218–9. 208 pages. Parsons analyzes the concept of “dissonance” as described in 17thcentury treatises and as found in Purcell’s works. Johann Joachim Quantz 1697–1773 2019. Oleskiewicz, Mary A. “Quantz’s Quatuors and Other Works Newly Discovered.” Early Music, xxxi (2003), 484–96 and 498–504. Sound clips available online: www.em.oupjournals.org. A set of parts for 6 quartets by Quantz for flute + violin + viola + continuo was rediscovered in 2001 in the Berlin Sing-Akademie archive. They had been in the private collection of Felix and Fanny Mendelssohn’s aunt Sara Levi and came to the Berlin archive through Zelter, Felix’s teacher and director of the SingAkademie from 1800 to 1832. Oleskiewicz describes the manuscripts and the music in detail and relates the quartets to works by Telemann and to descriptions of such quartets by Quantz himself and his contemporaries. Sergi Vasil’evich Rachmaninoff 1873–1943 For a systematic catalogue with bibliography and discography, see Robert Palmieri, Sergei Vasil’evich Rachmaninoff: A Guide to Research, in Garland Composer Resource Manuals, Vol. 3 (New York/London: Garland, 1985), 28–31. ML 134.R12P3.1985. ISBN 0-8240-8996-0. A chronological catalogue and listing by opus number is Robert Threlfall and Geoffrey Norris, A Catalogue of the Compositions of S. Rachmaninoff (London: Scolar Press, 1982) ML 134. R12T5.1982. ISBN 0-85967-617X. 218 pages. Eric Rakestraw b.1926 2020. Rakestraw, Eric. “Analysis of String Quartet No. 1: An Elegy for September 2001.” MA thesis. California State University, Hayward, 2004. xi + 191 leaves.

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Jean-Philippe Rameau 1683–1764 See Franciszek Wesolowski, “‘Pièces de Clavecin en Concerts’ von J. Ph. Rameau als Beispiel der französischen Kammermusik für Klavier mit Begleitung anderer Instrumente,” in 213, pages 50–2. Bernard Rands b.1934 2021. Lee, Joo-Mee. “An Analytical Study of Three String Quartets of Bernard Rands.” DMA dissertation. Boston University, 2006. ISBN 9780542661464. x + 74 pages. An analysis of Rands’ 3 quartets from the standpoint of a performer. Lee interviewed Rands and discusses the composer’s intentions. Maurice Ravel 1875–1937 For a catalogue of Ravel’s chamber music, see Fondation Maurice Ravel, Catalogue de l’Oeuvre de Maurice Ravel (Paris: Durand et Cie., 1954), 42–45. ML 134.R23F6. 2022. Orenstein, Arbie. Ravel: Man and Musician. New York/London: Columbia University Press, 1975. ML 410.R23O73. ISBN 0-231-039026. xviii + 291 pages. Reprint New York: Dover Publications, 1991. This is the definitive biography based on considerable documentation not previously available, with important discussions on Ravel’s aesthetics, musical language, and creative process. Orenstein gives historical background and analyzes the important chamber music. He assesses the violin + piano sonata, for example, as Ravel’s building on the incompatibility of the violin and piano, and in a movement by movement analysis discusses harmony, influences (the blues in movement 2), style, and so on. The book contains a discography of major works 1912–1939, a catalogue of works with an important bibliography, and a general bibliography. 2023. Braun, Jürgen. Die Thematik in den Kammermusikwerken von Maurice Ravel, in Kölner Beiträge zur Musikforschung, Band 33. Regensburg: Gustave Bosse (reproduced typescript with typeovers), 1966. MT 145. R19B7. 174 pages. Braun assesses Ravel’s position as a “loner” among French composers of his time and considers the history and style of his 5 main chamber pieces. He analyzes themes (tonality, rhythm, motive, motivic development and melody building) and thematic relationships of String Quartet, Introduction and Allegro (harp + flute + clarinet + string

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quartet), Piano Trio, Duo ( = Sonata) for Violin + Cello, and Sonata for Violin + Piano. The special problem of impressionistic music is that the impressionist ideal—to capture the character of conditions, the atmosphere of a movement—is impossible in music where the sound disappears immediately; to overcome this, Ravel (following Debussy) does not use harmonic motion and thematic development but dwells on the isolated sound—as close as music can come to impressionism in visual arts. Also, Ravel uses masks to diguise deeper feelings, belongs to the movement of French dandyism—opposition to the vulgarization of art—and looks to the past with aristocratic reserve (a type of neo-classicism). Braun shows traditional elements in Ravel’s forms (such as sonata form in the first movement of the Sonata for violin + piano) as well as his use of modern sounds (such as the blues in the second movement of the same piece). Following H. Mersmann (Musikhören, Frankfurt/M: H.F. Menck, 1952, page 160), he sees Ravel’s chamber music progressing from an impressionistic style to a much more polyphonic style. 2024. DeVoto, Mark. “Harmony in the Chamber Music,” in The Cambridge Companion to Ravel, ed. Deborah Mawer (Cambridge: Cambridge University Press, 2000), 97–117. Spanish translation by Juan Carlos Lores, “La armonía en la música de cámara de Ravel.” Quodlibet Revista de Especializacion Musical, xxxv (June 2006), 34–58. A survey of Ravel’s chamber music with emphasis on the harmonic structure of each piece. This is a clearly written, sensitive, and intelligent essay for the informed musician and music lover. For a comparison of Ravel and Debussy as miniaturists who think homophonically, see Shera’s Debussy and Ravel 1323. See also 1320 and 1322. 2025. Kabisch, Thomas. “Oktatonik, Tonalität und Form in der Musik Maurice Ravels,” in Musiktheorie, v (1990), 120–5. Deals with Ravel’s string quartet. See Stephen Hartke 1326 for further discussions of the Ravel string quartet. 2026. Sannemüller, Gerd. “Die Sonate für Violine und Violoncello von Maurice Ravel,” in Die Musikforschung, xxviii (1975), 408–19. Sannemüller analyzes motives, rhythms, and intervals in this duet (1920–22). This article is thorough and well documented. 2027. Dowling, Richard William. “Maurice Ravel’s Trio pour Piano, Violon et Violoncelle: A Preliminary Study for a New Performing Edition.”

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DMA dissertation. University of Texas at Austin, 1990. DAI Vol. li (December 1990), p. 1820A. 285 pages. Dowling compares the manuscript with the printed edition. 2028. Tobin, Shannon. “Aspects of Ravel’s piano trio”. MM thesis. University of Queensland, 2001. OCLC: 52248316. 57 pages. See also 415 for a comparison of the piano trios of Ravel and Saint-Saëns. Alan Rawsthorne 1905–71 2029. Cooper, Martin. “Current Chronicle: England: Three New Works by Alan Rawsthorne,” in The Musical Quarterly, xxxv (1949), 305–11. Cooper describes the Violin Concerto, the Cello + Piano Sonata, and the Quartet for Clarinet + Violin + Viola + Cello. The sonata is rhapsodic, based on a germ motive, but the quartet is more traditional and contrapuntal without any pregnant motive. 2030. Howells, Herbert. “A Note on Alan Rawsthorne,” in Music and Letters, xxxii (1951), 19–28. A shallow, verbose analysis of the quartet for clarinet + violin + viola + cello (1948) as a means for understanding Rawsthorne’s music as a whole. The composer uses minor seconds and ninths a great deal. Max Reger 1873–1916 For a catalogue of Reger’s chamber music, see Fritz Stein, Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reger einschliesslich seiner Bearbeitungen und Ausgaben mit systematischem Verzeichnis und Registern (Leipzig: Breitkopf & Härtel, 1953), 500–501, 502–503. ML 134. R33S82. A brief general introduction to Reger’s chamber music is: 2031. Grim, William E. Max Reger: A Bio-Bibliography, in Bio-Bibliographies in Music, No. 7. New York: Greenwood Press, 1988. ISBN 0-313-25311-0. viii +270 pages. Grim includes a catalogue of works with publishing information and premier performance, a large number of which are pieces of chamber music. There is also a discography and a large bibliography of writings on Reger’s music: articles, books, reviews, dissertations, and even Reger citations in fictional works. This is a basic reference for anyone studying Reger’s chamber music.

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2032. Trutzschler, Heinz. “Max Reger’s Chamber Music,” in Music Journal, xxiii (May 1965), 32, 69, 71. Trutzschler provides a short biography and a general description of Reger’s style of composition and output. He gives brief characterizations of much of his chamber music. 2033. Leichtentritt, Hugo. “Max Reger als Kammermusikkomponist,” in Neue Zeitschrift für Musik, 72. Jahrgang, Band 101 (1905), 866–68. An important study by a contemporary writing during the composer’s lifetime. Leichtentritt omits the earlier works and begins with the 2 clarinet sonatas Op. 49; he concludes with the Op. 84 violin sonatas. He points out Brahms’s influence in form and structure, especially the violin sonatas of Brahms on the Op. 49 sonatas of Reger. Yet Reger was his own man—his humor (fantastic, grotesque, bizarre) is found in all his chamber music. Leichtentritt defends Reger’s melody, and his recitative line as rich, yet something very new. This he gets from Bach. Another characteristic of Reger’s is his use of variation form in slow movements. This article appears in an issue of the Neue Zeitschrift für Musik devoted to the music of Reger. 2034. Desderi, Ettore. “Max Reger e la sua Musica Strumentale da Camera,” in Rivista Musicale Italiana, xxxiii (1926), 590–603. Many misconceptions of Reger’s music exist because most people are ignorant of it. Desderi begins with a defense of Reger in general, and then turns to the chamber music. He discusses sonata form and sonata and concludes with a discussion of “fugues” in Reger’s chamber music. This is an analysis for students, laypersons and anyone who wants an introduction to Reger’s chamber music, but it is not comprehensive and does not go into great theoretical depth. 2035. Bücken, Ernst. “Die Grundlagen der Kunst Max Regers,” in Führer und Probleme der neuen Musik (Köln: P.J. Tonger, 1924), 108–25. ML 60.B913. Reger was the first composer to return respectability to pure music among the middle classes; his predecessors and contemporaries followed Wagner. He did this through his substantial chamber music, which dominates his first 89 opus numbers. At first, under the spell of Brahms, Reger turned to Bach and created neo-classicism. He always remained tonal—true to his teacher Hugo Riemann (even after they were no longer friends). He is not impressionistic. This is an excellent, thought-provoking commentary on Reger in general with chamber music as a central part of the discussion.

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2036. Möller, Martin. Untersuchungen zur Satztechnik Max Regers: Studien an den Kopfsätzen der Kammermusikwerke, in Schriftenreihe des MaxRegers-Instituts Bonn-Bad Godesberg, Vol. 3. Wiesbaden: Breitkopf & Härtel, 1984. ISBN 3-7651-0190-7. 232 pages. A highly technical, scholarly treatise on Reger’s style in the first movements of his chamber music. Möller establishes polyphony as basic and studies the relationship of this polyphony to his homophonic style. He analyzes 38 pieces, 31 of which we define as chamber music. He shows Reger’s theoretical relationship to his teacher Riemann. For a discussion of the string quartets, see Wilke 267. 2037. Becker, Alexander. “‘ … trotz Unreife genügendes Talent’: das ‘Jugendquartett’ d-moll o. op.,” in Reger-Studien vii: Festschrift für Susanne Popp, 43–57. An evaluation of Max Reger’s early string quartet without opus number that he wrote in 1889 in order to become a pupil of Hugo Riemann. Although Reger himself and some of his biographers referred to the quartet as a work of juvenilia that he wrote without knowledge of the technique of writing quartets, it is in fact a good piece. Beethoven’s influence is paramount, especially Op. 18, No. 1, but there is also the influence of Schubert. An unusual feature of the quartet is the introduction of a fifth instrument—the string bass or a second violoncello—in the third movement. 2038. Taylor, Paul Garvin, Jr. “Thematic Process and Tonal Organization in the First Movement Sonata Forms of Max Reger’s Nine Sonatas for Violin and Piano.” PhD dissertation. Catholic University, 1982. UMI 82–21465. DAI xliii.4A, p. 970. 417 pages. Based on Schenker and Salzer, Taylor presents an analysis of the thematic process and tonal organization of these 9 movements. Reger used traditional outer forms and tonal structures, but his inner forms and “the prolongation of the tonal structure” are his own. 2039. Mäkelä, Tomi. “Zwischen Inspiration und Imitation: Max Regers Streichsextett opus 118 und das ‘Schott-Konzert’ des Reger-Schülers Aarre Merikanto (1893–1958) im Vergleich,” in Die Musikforschung, xlviii (1995), 369–94. A comparison between Merikanto’s Concerto for Violin, Clarinet, Horn, and String Sextet (1924) and Reger’s String Sextet Op. 118 (published 1911). Merikanto, a Finnish composer, studied with Reger between 1912 and 1914, during which time the pupil wrote some chamber music. While Merikanto clearly was influenced by Reger in

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his Concerto, there are clear differences that are pointed out in analyses of both works. 2040. Simon, Eric. “The Clarinet Works of Max Reger,” in Clarinet, No. 20 (Fall, 1955), 12–14. Simon rates Reger’s clarinet works as satisfying “musical requirements and [proving] technically interesting and rewarding” but not aspiring to greatness. He discusses 3 sonatas, the clarinet quintet, and 2 little pieces. 2041. Wilson, Keith. “An Analysis of the First Movements of the Sonatas for Clarinet and Piano, Opus 49, by Max Reger.” MA thesis. University of Illinois, 1942. 2042. Häfner, Roland. Max Reger: Klarinettenquintett op. 146, in Meisterwerke der Musik, Heft 30. Munich: Wilhelm Fink, 1982. MT 145. R4H3.1982. ISBN 3-7705-1973-6. 64 pages, 21 musical illustrations + 7 pages of examples. This is a carefully written introduction to Reger’s quintet, including the history of the piece and reviews. The bulk of the book deals with an analysis designed for music students, which is summarized in outline at the end. Anton Reicha 1770–1836 2043. Maaser, Leslie Goldman. “Antoine Reicha’s Quartet for Flute and Strings, Op. 98: an Historical Perspective and Sylistic Overview.” DMA dissertation. Ohio State University, 1998. DAI Vol. lix (February 1999), p. 2775A-6A. 136 pages. 2044. Tesch, Catherine Kay Schulze. “Anton Reicha’s Quintetto pour clarinette en si, deux violons, viola et violoncelle: An Analytical Study.” DMA dissertation. University of Arizona, 1995. DAI Vol. lvi (December 1995), p. 2041A. 140 pages. Basic analysis of the quintet and of clarinet technique in the early-19th century. 2045. Laing, Millard Myron. “Anton Reicha’s Quintets for Flute, Oboe, Clarinet, Horn, and Bassoon.” EdD dissertation. University of Michigan, 1952. UM 3697. DA xii.4, pp. 432–3. 622 pages. Laing produces an analysis of the 24 quintets (4 in detail) with historical data such as the performers for whom they were written. Volume I also gives the biography of Reicha, based largely on his autobiography (included here in both French and English), and Volume II includes the complete scores for the 4 works analyzed in detail.

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2046. Reicha, Anton. “The Woodwind Quintet: A Symposium: Reicha, Herald of the Quintet,” in Woodwind Magazine, vii (November 1954), 5. An excerpt from Reicha’s autobiography in which he takes up the challenge that woodwinds are considered inferior to strings in chamber music. See also Alena Krutov, “Les Quintettes pour Instruments … Vent d’Antoine Reicha,” in 675, pages 127–30. Joseph Gabriel Rheinberger 1839–1901 2047. Edelmann, Bernd. “Sind Rheinbergers Streichquartette wiederzubeleben?” In Josef Rheinberger, Werk und Wirkung: Bericht über das internationale Symposium anlässlich des 100. Todestages der Komponisten, veranstaltet von der Gesellschaft für Bayerische Musikgeschichte und dem Institut für Musikwissenschaft der Universität München: München, 23–25.11.2001, Stephan Hörner and Hartmut Schick, eds., in Münchner Veröffentlichungen zur Musikgeschichte, lxii. (Tutzing: H. Schneider, 2004, ISBN 3795211751), 61–92. After dismissing the 14 youthful string quartets and fragments of quartets by Rheinberger, Edelmann studies the surface melodies and rhythms of the 2 mature quartets (Op. 89, 1875, and Op. 147, 1886) and the 50 variations for quartet (Op. 93, 1876). Taking the side of the average audience today for quartet performances, he decides that, while not in the same class as the great quartets by Brahms, Dvorák, Beethoven, and other masters, they have enough merit to be worthy of occasional performance by both professional and amateur ensembles. The article concludes with extensive citations from newspapers of the 1870s and 1880s vis-à-vis the 3 pieces. 2048. Schmidt-Beste, Thomas. “Zu Klangregie und Textur in den grösser besetzten Kammermusikwerken Josef Rheinbergers.” In Josef Rheinberger, Werk und Wirkung: Bericht über das inernationale Symposium anlässlich des 100. Todestages der Komponisten, veranstaltet von der Gesellschaft für Bayerische Musikgeschichte und dem Institut für Musikwissenschaft der Universität München: München, 23–25.11.2001, Stephan Hörner and Hartmut Schick, eds., in Münchner Veröffentlichungen zur Musikgeschichte, lxii. (Tutzing: Hans Schneider, 2004, ISBN 3795211751), 93–112. This is a discussion of the balance among the instruments in 3 large, mature chamber pieces by Rheinberger: the string quintet (1874), the piano quintet (1878), and the nonet (final version, 1884). Schmidt-Beste

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considers the models from which Rheinberger drew inspiration and how he made his own contributions. Wallingford Riegger 1885–1961 2049. Freeman, Paul Douglas. “The Compositional Technique of Wallingford Riegger as Seen in Seven Major Twelve-Tone Works.” PhD dissertation. University of Rochester, Eastman School of Music, 1963. UMI 69–4146. DAI xxxi.6A, p. 2955. 344 pages. Among the works chosen are String Quartet No. 1, Op. 30; Duos for Three Woodwinds, Op. 35; Nonet for Brass, Op. 49; and Variations for Violin and Viola, Op. 57. Freeman offers a detailed analysis of the rows and their interaction with harmony, rhythm, form, and style. 2050. Buccheri, Elizabeth Bankhead. “The Piano Chamber Music of Wallingford Riegger.” DMA dissertation. University of Rochester, 1978. DAI xl.2A, p. 524. 173 pages. Buccheri gives a brief biographical sketch of Riegger, followed by a chapter-length analysis of the form, style, and other relationships of each of 6 works: Piano Trio (Op. 1), Whimsey (Op. 2), Sonatina (Op. 39), Piano Quintet (Op. 47), Concerto (Op. 53), and Movement (Op. 66). A final chapter tackles performance problems: rhythm, balance, technique, and pianistic techniques. 2051. Schmoll, Joseph Benjamin. “An Analytical Study of the Principal Instrumental Compositions of Wallingford Riegger.” PhD dissertation. Northwestern University, 1954. UM 55–6. DA xv.1, pp. 130–1. 348 pages. An analysis of the Trio for violin + cello + piano (1919–20) and other works. Ferdinand Ries 1784–1838 2052. Schewe, Gisela. Untersuchungen zu den Streichquartetten von Ferdinand Ries, in Beiträge zur Rheinischen Musikgeschichte, Heft 147. Kassel: Merseburger, 1993. ML275.B45.No.147. ISBN 3-87537252-2. vi + 232 pages. Originally PhD dissertation. University of Bonn, 1992. Recognizing that Ries has always been viewed as a minor contemporary of Beethoven, Schewe considers his string quartets in their own right. She then analyzes the form, harmony, motives, and other aspects of the more than two dozen quartets.

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Henri-Joseph Rigel 1741–99 For a discussion of Rigel’s role in French sonata music see Saint-Foix’s article 1375. Wolfgang Michael Rihm b.1952 2053. Brügge, Joachim. Wolfgang Rihms Streichquartette: Aspekte zu Analyse, Ästhetik und Gattungstheorie des modernen Streichquartetts. Saarbrücken: Pfau, 2004. ISBN: 389727261X. 393 pages. A study of the first 10 string quartets by the important contemporary German composer Wolfgang Rihm written between 1970 and 2000. Rihm has also written string quartet movements, an unfinished eleventh quartet, and a complete twelfth quartet, and numerous other chamber pieces, some including string quartets with accordion and other instruments. Brügge places Rihm’s quartets within the historical context of string quartet writing in general during the last part of the 20th century and discusses Rihm’s aesthetics as he moves from a modernist to a postmodernist composer. This book is an outgrowth of an Habilitations dissertation at the Mozarteum in Salzburg in 2002, and is a very disciplined presentation. 2054. Winkler, Gerhard E. “Das ‘fluide’ Werk und die Krise der Partitur: Zu Wolfgang Rihms 4. Streichquartett und ‘Uber die Linie’ für Violoncello solo.” In Ausdruck, Zugriff, Differenzen: der Komponist Wolfgang Rihm, Wolfgang Hofer, ed. (Mainz: Schott Musik International, 2003, ISBN 3795704839), 135–46. Basically, Rihm is a composer who recognizes that a creative work is never finished: it always remains fluid. This brings on a series of problems as to what to do with the printed score. In another aspect of this question, Winkler takes the opening of Rihm’s fourth string quartet, which begins with an upward 5-note figure that is then continually developed throughout the rest of the movement. For a discussion of Rihm’s Music for Three Strings, see 691. Philipp Jakob Riotte 1776–1856 2055. Spengler, Gernot. Der Komponist Philipp Jakob Riotte aus St. Wengel: sein Leben und seine Instrumentalmusik. St Wendel: St. Wendeler Buchdruckerei, 1972. 188 pages. Originally PhD dissertation, University of Saarbrücken, 1972. Although primarily a theater composer, Riotte also wrote some chamber music.

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Peter Ritter 1763–1846 2056. Elsen, Josephine Caryce. “The Instrumental Works of Peter Ritter (1763–1846).” PhD dissertation. Northwestern University, 1967. RILM 67–1655. UMI 67–15226. DAI xxviii.7A, pp. 1710–11. 2 vols. viii + 490 pages. Elsen gives a descriptive catalogue and general analysis of the instrumental works of Ritter, a Mannheim composer who stayed there after the court moved back to Munich in 1778. Ritter’s chamber music includes 23 quartets, as well as quintets, trios, and duos. Appendix II gives the scores of 3 complete works: a duo for 2 cellos, a string quartet, and a cello concerto. George Rochberg 1918–2005 2057. Dixon, Joan DeVee. George Rochberg: A Bio-Bibliographic Guide to his Life and Works. Stuyvesant (NY): Pendragon Press, 1992. ISBN 0-945193-12-2. ML134.R575D6.1992. xlvi + 684 pages. An essential reference work for all of Rochberg’s compositions, including his chamber music. Under the alphabetical listing of works, each entry includes date of composition, publishing information, recording information, duration, commission, dedication, premier, awards, and notes by the composer. The bibliography (pages 443–684) starts with a general bibliography, then lists a bibliography for each composition, and ends with dissertations. The reader is referred to this bibliography, which is not duplicated here. 2058. Rochberg, George. “Five Lines, Four Spaces: The World of My Music and its Performers.” Typescript, 2006. Library of Congress, Music Division. The memoirs of George Rochberg. Chamber music material: Chapter 4: After and Before (Twelve Bagatelles and String Quartet No. 1). Interlude 2: Rilke’s Angels (String Quartet No. 2 with soprano). Chapter 6: Breaking with Modernism (Third String Quartet and the Concord String Quartet). Interlude 4: O For a Muse of Fire (Eliot Fisk and works for guitar-solo, duo, and ensemble). Chapter 12: A Triptych of Sonatas (Sonata for Violin and Piano, 1988, Sonata for Viola and Piano, 1979, Sonata-Aria for Cello and Piano, 1992). Chapter 14: A Trio of Trios (Piano Trio No. 1, 1962–1963, piano Trio No. 2, 1985, piano Trio No. 3, summer, 1990).

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2059. Smith, Joan Templar. “The String Quartets of George Rochberg.” PhD dissertation. University of Rochester, 1976. UMI 76–21657. DAI xxxvii.5A, p. 2488. vi + 331 pages. Smith discusses influences, basic compositional techniques, forms, vertical sonorities, sets, texture, dynamics, and rhythm in each of the 3 quartets (1952, 1959–61, 1972). She notes Rochberg’s aesthetics at the time of composition. 2060. Wood, Hugh. “Thoughts on a Modern Quartet,” in Tempo, No. 111 (December, 1974), 23–6. Wood’s concern is with Rochberg’s conscious imitation of different past styles. There is no analysis or historical commentary in this article. 2061. Berry, Mark. “Music, Postmodernism, and George Rochberg’s Third String Quartet,” in Postmodern Music Postmodern Thought, Judith Irene Lochhead and Joseph Henry Auner, eds. (New York/London: Routledge, 2002, ISBN 0815338198), 235–48. This is an attempt to understand the quartet (1972) not as a neoconservative postmodernist work but as an example of what Rochberg himself states as ars combinatorial. That is, the postmodern composer stands not in an historical straight line but is in a globe surrounded by all past and present styles and has the right to be influenced by all these styles as they affect his/her present-day world. In the third quartet, movements 2 to 5 demonstrate moments of familiar atonal and tonal styles, which are all part of Rochberg’s world. Berry shows in particular the influence of Mahler’s 9th Symphony on the quartet, previously discussed by Jay Reise. This puts the quartet in context of the stasis as defined by Leonard Meyer c.1970, rather than in the neoconservative camp as defined by Jann Pasler and Jonathan Kramer in the mid 1990s. 2062. Berry, Mark Andrew. “Musical Borrowing, Dialogism, and American Culture, 1960–1975: Bob Dylan’s Self Portrait, George Rochberg’s Third String Quartet, and Herbie Hancock’s ‘Watermelon Man.’” PhD dissertation. Stony Brook University, 2006. viii + 234 leaves. All 3 musicians borrow material for the compositions compared here and, while the materials differ, the method of borrowing is similar. Chapter 4 is devoted to the Rochberg quartet. For a discussion of Rochberg’s Dialogues for clarinet + piano see Jennings’s dissertation 1991. 2063. Talleda, Joseph. “A Study and Performance Guide to George Rochberg’s ‘Summer, 1990’ (Piano Trio No. 3): A Doctoral Essay.” DMA dissertation. University of Miami, 2003. viii + 120 pages.

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An analysis of the 1-movement trio that, by its reference to earlier works by Rochberg and others, has ties to the postmodernist movement. This means that he accepts the styles of historical music and rejects modernism—the various styles of music that dominated most of the 20th century and that, in turn, had rejected earlier music. At the beginning of the dissertation, Rochberg’s life and works are discussed. The final chapter concerns performance issues for the pianist and the ensemble as a whole. Joaquin Rodrigo 1902–99 For a discussion of Sonata Pimpante (1966) for violin + piano see Klugherz’s dissertation 1840. Hilding Rosenberg 1892–1985 2064. Wallner, Bo. “Kammermusikalks Sammanfattning: om Hilding Rosenbergs Strakkvartetter nr 7–12,” in Dansk Musiktidsskrift, xxxv (1960), 82–7. In Danish. Lengthy review of the Swedish composer’s string quartets Nos. 7–12. Anton Rösler ( = Antonio Rosetti) 1750–92 2065. Murray, Sterling E. The Music of Antonio Rosetti (Anton Rösler) ca. 1750–1792: A Thematic Catalog, in Studies in Music Bibliography, No. 76. Warren (MI): Harmonie Park Press, 1996. ISBN 0-89990105-0. ML134.R677A2.1996. lviii + 861 pages. The list of Rosetti’s works includes many chamber pieces on pages 265 to 361, from string trios to string quartets to pieces mixing strings and winds (among which are 2 cassations). Besides incipits, it gives concordances, dates of composition, manuscript sources, and prints. See also Little 577. Gioachino Rossini 1792–1868 2066. Mizutani, Akira. “Rosshini ‘Muttsu no shijuso sonata’ ni kansuru oboegaki/Notes on Six Sonatas for String Quartet by Rossini,” in Rosshinianan, xxvii (Tokyo: Nihon Rosshini Kyokai, 2004), 60–64. Albert Roussel 1869–1937 For a catalogue of Roussel’s chamber music, see Catalogue de l’Oeuvre d’Albert Roussel (Paris/Brussels: Editor, 1947), 79–90. ML 134.R88C3.

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2067. Ferroud, P.-O. “La Musique de Chambre d’Albert Roussel,” in Revue Musicale, special issue (April 1929), 52–64. Ferroud makes general statements about Roussel’s character, life, and chamber music, which falls into an early period (Opp. 2, 6, and 11) and a late one (Opp. 27, 28, and 30). Ferroud gives a brief history of each and a brief description of the forms and themes. Miklós Rózsa 1907–95 2068. McKenney, Nancy Jane. “The Chamber Music of Miklós Rózsa.” PhD dissertation. University of Kentucky, 2002. 2 vols. DAI, lxiii (July 2002), p22A. xvii + 447 pages. McKenney produces a detailed study of Rózsa’s many pieces of chamber music, including historical background and formal analyses with special concern for the extent of Hungarian folk influences. The dissertation contains many musical examples. Edmund Rubbra 1901–86 2069. Rubbra, Edmund. “String Quartet No. 2 in E flat, Op. 73: An Analytical Note by the Composer,” in The Music Review, xiv (1953), 36–44. An analysis of tonality and motives. Archduke Rudolph 1788–1831 2070. Kagan, Susan. “The Music of Archduke Rudolph, Beethoven’s Patron, Pupil and Friend.” PhD dissertation. City University of New York, 1983. UMI 83–19773. DA xliv.5A, p. 1236. 411 pages. A scholarly biography and bibliography, followed by an analytical discussion of the music, some of which is chamber. Joseph Boulogne, Chevalier de Saint-Georges 1739–99 2071. Banat, Gabriel. The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow, in Lives in Music Series No. 7. Hillsdale (NY): Pendragon Press, 2006. ISBN 1576471098. xxiii + 566 pages. Banat prvides an exhaustive biography of the famous mulatto violinist who wrote numerous collections of sonatas for violin and keyboard and 18 string quartets (12 of which are quartetti concerti in the French style).

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2072. Smith, Walter E. The Black Mozart: le Chevalier de Saint-Georges. Bloomington (IN): Author House, 2004. ISBN 1418407968. xii + 222 pages. Charles-Camille Saint-Saëns 1835–1921 2073. Harkins, Elizabeth Remsberg. “The Chamber Music of Camille Saint-Saëns.” PhD dissertation. New York University, 1976. UMI 77–5409. DAI xxxvii.9A, p. 5430. 216 pages. A history of the 52 chamber pieces that Saint-Saëns wrote from age 5 to 86. See 1405 for a discussion of his violin + piano sonata. See 415 for a comparative analysis of the piano trios of Saint-Saëns and Ravel. Giovanni Battista Sammartini 1701–75 2074. Mishkin, Henry G. “Five Autograph String Quartets by Giovanni Battista Sammartini,” in Journal of the American Musicological Society, vi (1953), 136–47. Mishkin examines the 5 late string quartets by Sammartini preserved in an autograph manuscript in the Paris Conservatory (now in the Bibliothèque Nationale). He gives a brief account of the other printed and manuscript collections of Sammartini’s chamber music. Sammartini combines homophonic and melodic elements to form a new kind of counterpoint, a dialogue with a new-found equality of parts. Tonal structure is important. 2075. Cesari, Gaetano. “Sei Sonate Notturne di G.B. Sammartini,” in Rivista Musicale Italiana, xxiv (1917), 479–82. Cesari briefly describes these 6 sonatas, which in 1917 were in the possession of Count Giorgio Casati, and compares them with an entirely different collection of Sei Sonate Notturne, Op. 7, in Paris. 2076. Churgin, Bathia. “New Facts in Sammartini Biography: The Authentic Print of the String Trios, Op. 7,” in Journal of the American Musicological Society, xx (1967), 107–12. The discovery of an authentic edition of the trios reveals connections between Sammartini and the Duke of Parma, Don Fillipo, and establishes a firm date of 1760 for the start of the composer’s most mature period (beginning with the trios). The trios are important for the clear absence of a continuo part. Churgin provides a detailed, scholarly essay.

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Albert Sardà b.1943 2077. Charles Soler, Agustín. “Albert Sardà, 60 aniversario: Una estética de pathos serial: Análisis del cuarteto de cuerda y el concierto para violoncello,” in Nassarre: Revista aragonesa de musicologia, xix: Musica espanola contemporanea (Zaragoza: Institución Fernando el Catolico, 2003), 143–76. An analysis of the string quartet (1975) by Sardà. It is a serial work that also has aleatoric elements. Sardà was influenced by the Darmstadt group of composers, including Ligeti, Stockhausen, Kagel and Xenakis. Charles Soler looks at the 12-tone rows, the melodic elements that are derived from the original row and its permutations, the microtones, the aleatoric systems, and the rhythmic serialism. After a similar analysis of the violoncello concerto, he gives a list of Sardà’s compositions by genre, which includes a number of chamber pieces. Giacinto Scelsi 1905–88 2078. Reish, Gregory N. “Thematic Transformation, Stylistic Fusion, and Historical Allusion in Giacinto Scelsi’s String Quartet no. 1.” In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 305–20. Reish gives a detailed analysis of the first string quartet by Scelsi (1944), which draws heavily from Berg’s “Lyric Suite” and Beethoven’s late quartets. It is a highly contrapuntal work. Scelsi orchestrated it in 1962. He later wrote 3 more quartets. Raymond Murray Schafer b.1933 2079. Schafer, Raymond Murray. Circuit, xi, No. 2 (2000). This is a special issue of Circuit, devoted to the music of Raymond Murray Schafer and especially his string quartet. Articles include: R. Murray Schafer, “La ‘quaternite’ et le quatuor” (pages 11–13); Jean Portugais and Olga Ranzenhofer, “Îles de la nuit – parcours dans l’oeuvre pour quatuor à cordes de R. Murray Schafer” (pages 15– 52); Jean Portugais, “Table ronde sur le quatuor à cordes – Le quatuor à cordes est-il une forme tabou, un fossile ou appartient-il encore à une tradition vivante” (pages 55–76); Serge Provost, “Le

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quatuor à cordes comme lieu du désir” (pages 59–60); José Evangelista, “Mon expérience privée du quatuor à cordes” (pages 67–8); Jean Boivin, “Le quatuor, le compositeur et le musicologue. Fable” (pages 67–72); Jean-Jacques Nattiez, “Le quatuor à cordes: un genre dépassé?” (pages 73–6); Jonathan Goldman, “Bibliographie sélective des articles et des ouvrages musicologiques sur R. Murray Schafer” (pages 77–82); and John Rocco Rea, “Le quatuor à cordes est une forme tabou, un fossile et il n’appartient plus à une tradition vivante” (pages 63–6). There are also several reviews. Schafer finds that what makes the string quartet so fascinating is that the number 4 is so important in the scheme of things in the cosmos and in the minds of people. He enumerates many of our concepts that fall into 4 divisions. In the string quartet, we have those divisions and also the unity of the 4 elements. Rea lists 9 signs why the string quartet— despite groups like the Kronos Quartet—is dead or dying and draws a parallel with death in the Roman Catholic Church. His opinion, not shared by others in this issue of Circuit, is influenced by Pierre Boulez. 2080. Elliott, Robin. “Molinari Quartet – Integral Performance of the Schafer String Quartets.” In Institute for Canadian Music Newsletter, ii, No. 1 (January 2004), 10–12. 2081. Portugais, Jean, and Olga Ranzenhofer. “Îles de la nuit – parcours dans l’œuvre pour quatuor à cordes de R. Murray Schafer,” in Circuit musiques contemporaines, xi (2000), 15–52. Abstracts in English and French on page 98. Johann Christian Schickhardt 1682–1762 2082. Moore, J. Robert. “Six Sonatas for Transverse Flute, Oboe or Violin and Basso Continuo, Op. 20, Volume II, by Johann Christian Schickhardt (ca.1682–1762): A Performance Edition with Historical Commentary, including an Ornamented Solo Part, Figured Bass Realization and a Comparison with Other Contemporary Sonate da Camera.” DMA dissertation. University of Rochester, Eastman School of Music, 1981. DAI xlii.8A, pp. 3342–3. 273 pages. Johann Heinrich Schmelzer 1623–80 2083. Aschböck, E. “Die Sonaten des Johann Heinrich Schmelzer.” PhD dissertation. University of Vienna, 1979. DAI (Europe), xliv.2, page 254. A history and simple analysis of the sonatas (most are for 2 or more instruments), with a thematic catalogue.

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Kurt Schmid b.1942 2084. Kaltschmid, Michel. Kaltschmid-Verzeichnis der Kompositionen und Bearbeitungen von Kurt Schmid. Vienna: Braumuller, 2006. ISBN 3700315597. 232 pages. Kurt Schmid was, from 1963–2003, the solo clarinettist of the Niederösterreichische Tonkunstler. He performed with many ensembles and in 1985 founded the Amadeus-Orchester Wien. This is a chronologically-arranged catalogue of Schmid’s more than 370 orchestral and chamber music works for various forces. Franz Schmidt 1874–1939 2085. Grote, Adalbert. “Elemente ‘logischen’ Komponierens in den Streichquartetten Franz Schmidts,” in Österreichische Musikzeitschrift, xliv (January 1989), 11–16. An analysis of the 2 string quartets (1925 and 1929), which are in the tradition of developing variations found in the late music of Brahms and the music of Schoenberg. Artur Schnabel 1882–1951 2086. Wörner, Felix. “‘From Technique to Mystery’: Artur Schnabels künstlerisches Selbstverstandnis in seinen frühen Streichquartetten,” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 279–98. Although Schnabel is remembered primarily for his piano playing, he considered composition his first passion. He turned to chamber music after World War I and wrote, among other things, the first 4 of his 5 string quartets (1918, 1921, 1922, 1930). Although minor compositions, they help us understand the era in which they were written. Alfred Schnittke 1934–98 Currently, the basic biography of Schnittke in English is by Alexander Ivashkin, Alfred Schnittke. London: Phaidon Press, 1996. ML410.S276. I93.1996. ISBN 0-7148-3169-7. 240 pages. This includes the composition and performance of chamber music in the course of the biography; Schnittke’s

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chamber music is listed on pages 221–22. See also George Odam and Alfred Schnittke, Seeking the Soul: The Music of Alfred Schnittke. London: Guildhall School of Music & Drama, 2002. ISBN: 0900423056. 80 pages. 2087. Parsina, Marija. “Fortepiano v kamernyh socinenijah A. Snitke 1960–1970-h godov”/The piano writing in Alfred Schnittke’s works from the 1960s–1970s, in Fortepiano, i (2004), 22–6. In her discussion, Parsina includes Schnittke’s first and second sonatas for violin and piano, the quintet, and the first sonata for violoncello and piano. 2088. Moody, Ivan. “The Music of Alfred Schnittke,” in Tempo, No. 168 (March 1989), 5–6. Moody considers the second string quartet. 2089. Rice, Hugh Collins. “Further Thoughts on Schnittke,” in Tempo, No. 168 (March 1989), 13–14. Rice looks at the third string quartet. See also 691. 2090. D’Ambrosio, Cybèle. “A Postmodern Perspective on Quotation in Schnittke’s String Quartet, no. 3.” MFA thesis. Mills College, 1999. 27 leaves. 2091. Hettergott, A. “Neues von Alfred Schnittke,” in Österreichische Musikzeitschrift, xliv (December 1989), 636–7. This is a brief review of the fourth string quartet (1989). 2092. Durrani, Aaminah. “Chorale and Canon in Alfred Schnittke’s Fourth String Quartet.” PhD dissertation. Louisiana State University, 2005. ISBN 0542021927. 173 pages. 2093. Hérarún-Javakhishvili, Fíona. “The Co-existence of Tonality and Dodecaphony in Schnittke’s First Violin Sonata: Their Crystallisation within a Cyclic Structure.” In Seeking the Soul: The Music of Alfred Schnittke, George Odam, ed. (London: Guildhall School of Music and Drama, 2002, ISBN 0-900423-05-6), 67–77. A general description of the climate in the Soviet Union after the Second World War and into the 1960s post-Krushchev era places Schnittke’s first sonata in context of the struggle of young Russian composers between political demands and artistic ones based on an increasing awareness of Western trends. The author traces the influence of Shostakovich on the piece. 2094. Westwood, Paul. “Schnittke’s Violin Sonata No. 2 as an Open Commentary on the Composition of Modern Music,” in Seeking the Soul:

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the Music of Alfred Schnittke, George Odam, ed. (London: Guildhall School of Music and Drama, 2002, ISBN 0-900423-05-6), 46–56. Westwood provides a discussion on this sonata as a sonata in which tonality and atonality are contrasted, often abruptly, and in which various modern styles are also abruptly contrasted. He shows that Schnittke probably had Adorno’s Quasi una fantasia (1992) in mind. He also points out Schnittke’s use of the B-A-C-H motive in the sonata. It is a readable essay. 2095. Peterson, Kirsten. “Structural Threads in the Patchwork Quilt: Polystylistics and Motivic Unity in Selected Works by Alfred Schnittke.” PhD dissertation. University of Connecticut, 2000. xvii + 293 pages. Peterson studies motivic unity in several compositions by Schnittke that mix different styles within the same piece. Although Kirsten concentrates on 2 concerti grossi to demonstrate her thesis, she also brings in the Septet (flute, 2 clarinets, violin, viola, violoncello, and harpsichord; pages 123–30) and String Quartet No. 3 (pages 130–38). 2096. Wettstein, Shannon L. “Surviving the Soviet era: An Analysis of Works by Shostakovich, Schnittke, Denisov, and Ustvolskaya.” DMA dissertation. University of California, San Diego, 2000. ix + 84 leaves. Analyzes Schnittke’s quintet for piano and strings. See also 435. 2097. Röhring, Klaus. “‘De profundis’ in ‘Tempo di Valse’: Gedanken zu Alfred Schnittkes Klavierquintett,” in Musik-und-Kirche, lxxiii, No. 5 (September–October 2003), 318–20. Schnittke wrote this quintet for piano and string quartet in tribute to his mother, who died suddenly in 1972. The 5 movements contrast the subtle, shadowy, quarter, half, and three-quarter tones in the strings with the clarity of the half tones to which the piano is limited. However, in general, this is an analysis that is looking for emotional meaning rather than structural factors. The first and fourth movements are a lament, a De Profundis. The second movement is a waltz that quotes the B-A-C-H theme because Schnittke’s mother taught her son that Bach’s music was the source for everything else in music. The fifth is a passacaglia. Röhring would like to hear this piece in a church. Johann Schobert 1740–67 2098. Riemann, Hugo. “Johann Schobert,” in Ausgewählte Werke von Johann Schobert, in Denkmäler deutscher Tonkunst, 1. Folge, xxxix (Leipzig: Breitkopf & Härtel, 1909), v–xxii. M 2.D39.Bd.39.

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Riemann presents a thematic catalogue of Schobert’s works and an essay on Schobert’s life and position within the older generation of Mannheimers. Schobert’s fame and importance lie with his chamber music for obligato keyboard with strings, which demonstrates the new aesthetics of mid-18th-century Europe, when the keyboard ( = piano) no longer accompanies but is accompanied. Riemann relates Schobert’s chamber music to earlier, contemporary, and later composers. He assembles a lot of information on Schobert – a pioneering study that remains the basis for all future studies. 2099. David, Hans Theodore. Johann Schobert als Sonatenkomponist. Kassel: Bärenreiter/Borna-Leipzig: Universitätsverlag von Robert Noske, 1928. ML 410.S282D2. 1928. vii + 76 pages + pullout (unnumbered, with list of Schobert’s works Opp. 1–20 and 5 additional pieces). David has produced a thorough and comprehensive scholarly discussion of Schobert’s sonatas: historical and bibliographic background, Schobert’s style, analysis of the sonatas, analysis of form in general and in specific movements, Schobert’s development techniques, and Schobert’s significance aesthetically and historically. He compares Schobert to his contemporary harpsichordists in Paris: Leontzi Honauer and Johann Gottfried Eckard. He notes that the keyboard has become the main instrument, and Schobert contrasts his stark, simple, compact accompaniment with sudden bursts of heightened emotions (a Mannheim symphony on the keyboard). His straightforward harmony is interrupted by an isolated, novel modulatory chord or passage that is striking for its rarety. Schobert was affected by sturm und drang, yet this was within a framework of classicism: the emotional modulations occur only at the beinnning of the development sections. Despite assertions to the contrary by Riemann, Schobert was closer to Vienna than to Mannheim. The sonatas are considered per se and not merely as precursors of the violin + piano sonata or any other later genre. Although David is primarily concerned with the keyboard aspects, his penetrating analyses and bibliographic contributions on Schobert make this work important for all chamber music historians, students and scholars. For an early study of Schobert’s importance for the French sonata, see SaintFoix’s article 1375. Othmar Schoeck 1886–1957 2100. Starobinski, Georges. “Le ‘Notturno’ op. 47 d’Othmar Schoeck: Le quatuor à cordes confronté aux exigences du lied,” in Das Streichquartett

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in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 111–30. The Notturno (1931–1933) is in 5 movements and is scored for string quartet and voice. Starobinski considers it one of Schoeck’s finest works. It is more appropriately a string quartet than a song cycle and is comparable to Schonberg’s second string quartet. 2101. Walton, Chris. “Othmar Schoecks Werke ohne Opus-Nummer,” in Dissonanz/Dissonance, No. 34 (November 1992), 10–14. This article is about a newly discovered scherzo for string trio by Schoeck. Arnold Schoenberg 1874–1951 For a catalogue of Schoenberg’s music, including the chamber pieces, see Josef Rufer, Das Werk Arnold Schönbergs (Kassel: Bärenreiter, 1959), trl. by Dika Newlin, The Works of Arnold Schoenberg: a Catalogue of his Compositions, Writings and Paintings (London: Faber & Faber, 1962). ML 134. S33R83.1962. 124 pages + 37 illustrations. 2102. Wellesz, Egon. “Arnold Schoenberg,” in Zeitschrift der internationalen Musikgesellschaft, xii (1911), 342–8. Wellesz discusses Schoenberg’s music from Op. 1 to Op. 10 and dwells on Op. 4 (Verklärte Nacht, string sextet) and especially on Op. 10 (String Quartet No. 1). Schoenberg is first concerned with melodic expansion, so he writes songs. Then, he is concerned with the highest perfection of Classical form, so he writes instrumental music (Op. 4). In the third stage—Op. 10—he tackles both problems together: he writes melodic fragments that make sense as an organism only in terms of the whole piece, and the interaction of these fragments combines both melodic unity and the form of the piece. Op. 10 is at the threshhold of this new style, while Op. 11 piano pieces are completely in it. 2103. Whittall, Arnold. Schoenberg Chamber Music, in BBC Music Guides, No. 21. Seattle: University of Washington, 1972. MT 145. S26W5.1972b. 64 pages, 17 examples. A non-technical discussion of the string quartets, string trio, and wind quintet, designed for the erudite layperson. 2104. Cherlin, Michael. Schoenberg’s Musical Imagination. Cambridge/ New York: Cambridge University Press, 2007. ISBN: 9780521851664.

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This is a somewhat rambling but interesting discussion of various works by Schoenberg including chapters on the First String Quartet and the late string trio. There is also an analysis of the Third String Quartet (pages 218–28). 2105. Ottlová, Marta. “Schonberguv vyrok o Smetanovi,” in Hudební Veda, xli (2004), 63–70. Abstract in German. For a documentary study of Schoenberg’s string quartets, see Ursula von Rauchhaupt’s Schoenberg, Berg, Webern: The String Quartets 274. For their historical position in the first part of the 20th century, see Werner Pütz’s Studien zum Streichquartettschaffen 1607. 2106. Schmidt, Christian Martin. “Die Streichquartette von Arnold Schönberg als Exempla seiner kompositorischen Entwicklung.” In Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 41–52. Schönberg’s 5 complete string quartets fall into 2 phases: the early 1897 Quartet and Nos. 1 and 2 comprise the first phase and Nos. 3 and 4 the second. Each quartet reflects Schonberg’s general compositional stage at the time at which it is written. Schmidt considers the hidden programs for the quartets, and notes that Schonberg’s model for his second phase quartets are Mozart’s quartets. 2107. Pasztor, Akoslaying. “Schoenberg to Schoenberg; Jeno Lehner of the Kolisch String Quartet Remembers,” in The New Hungarian Quarterly, xxxiii (Autumn 1992), 170–6. 2108. Steiner, Fred. “A History of the First Complete Recording of the Schoenberg String Quartets,” in Journal of the Arnold Schoenberg Institute, ii (1978), 122–37. Steiner chronicles the events and personalities in the private recording of the 4 quartets, by the Kolisch Quartet in Hollywood in May, 1936. He describes the arrangement of the recording by Schoenberg’s pupil Alfred Newman at United Artists Stage 7, and the subsequent pressing of probably 25 copies by RCA Victor for private distribution with liner notes by Schoenberg. Newman’s copy is now at the University of Southern California Library; Harvard, Bennington College, and Smith College have copies. This article is important for a reprint of Schoenberg’s notes and a transcript of his and Newman’s and the Kolisch Quartets’s conversations from the original discs. LP copies were made in 1949–50.

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2109. Gradenwitz, Peter. “The Idiom and Development in Schoenberg’s Quartets,” in Music and Letters, xxvi (1945), 123–42. Gradenwitz shows that the composer’s 4 stylistic periods are reflected in each of his string quartets. He provides a detailed analysis of form, motive, tonality or atonality, and style. This is an important analysis and background for understanding the quartets. Gradenwitz concludes with a chronology of Schoenberg’s total output divided into the 4 periods. See also 232. 2110. Musgrave, Michael Graham. “Schoenberg and Brahms: A Study of Schoenberg’s Response to Brahms’s Music as Revealed in his Didactic Writings and Selected Early Writings.” PhD dissertation. University of London, 1980. DAI (Europe) xliv.1, p. 5. 522 pages. Musgrave attempts to show Brahms’s influence on Schoenberg’s harmonic and tonal relationships, thematic processes and phrase structure, contrapuntal relationships, and formal relationships. He chooses 3 early chamber pieces of Schoenberg in which to demonstrate these: String Quartet in D major (1897), Verklärte Nacht (1899), and String Quartet in D minor (1905). 2111. Thieme, Ulrich. Studien zum Jugenwerk Arnold Schönbergs: Einflüsse und Wandlungen, in Kölner Beiträge zur Musikforschung, Band 107. Regensburg: Gustav Bosse, 1979. HML 5040.15.86. ISBN 3-76492205-2. vi + 234 pages. “Schönbergs frühe Kammermusik.” PhD dissertation. University of Köln. Thieme attempts to understand the developing ideas in Schoenberg’s mind as he wrote his earliest pieces. While not limited in the book to chamber music, chamber music does figure prominently (complete and fragmentary string quartets, string sextet). Thieme considers the influence of Brahms, Dvorák, and Zemlinsky and analyzes rhythm, counterpoint, and development. 2112. Frisch, Walter. The Early Works of Arnold Schoenberg, 1893–1908. Berkeley: University of California Press, 1993. ISBN 0-5200-7819-5. ML410.S283F75.1993. xix + 328 pages. Frisch supplies a detailed, theoretical study of Schoenberg’s early music including the first 2 string quartets, Verklärte Nacht, and some early chamber music. The music of Brahms, Zemlinsky, and Reger is compared to Schoenberg’s as the latter begins to evolve his own harmony, style, and form. This is written for the advanced theoretician.

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2113. Gruber, Gerold W. “‘Mich überfährt ein ungestümes wehen—’: Anmerkungen zu den Streichquartetten Arnold Schönbergs.” In Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, Band 12 (Vienna: Doblinger, 2006, ISBN: 3900695814), 26–32. Gruber includes a few remarks especially about the early string quartet (1897) and Opera 7 and 10. There were programs, but Schoenberg kept them private. Gruber reproduces Schoenberg’s verbal sketches for Op. 7. See also Wilke 267. 2114. Gerlach, Reinhard. “War Schönberg von Dvorák beeinflusst? zu Arnold Schönbergs Streichquartett D-Dur,” in Neue Zeitschrift für Musik, cxxxiii (1972), 122–7. From childhood on, Schoenberg knew intimately Dvorák’s chamber music, and this influenced his early string quartet (1897). Zemlinsky worked with Schoenberg on the piece and probably caused Schoenberg to eliminate a lot of the Dvorák influences since he (Zemlinsky) was completely dominated by Brahms at this time. Gerlach uses primarily Dvorák’s Bagatelles Op. 47 (2 violins + cello + harmonium) and the 3 string quartets Opp. 61, 80 and 96. It is a scholarly analysis. The same thesis is proposed in 675, pages 157–76 2115. Anon. “Arnold Schoenberg’s ‘F-Sharp Minor Quartet’: A Technical Analysis,” trl. Mark DeVoto, in Journal of the Arnold Schoenberg Institute, xvi (1993), 293–321. This is an early descriptive analysis in German of the F-sharp minor Quartet, followed by a translation into English and a few comments by the translator. For a parallel between Schoenberg’s and Ives’s first 2 string quartets, see Gwyneth Walker’s dissertation 1646. 2116. Haimo, Ethan. Schoenberg’s Transformation of Musical Language. Cambridge/New York: Cambridge University Press, 2006. ISBN: 9780521865425. x + 430 p. Two chapters deal with Schoenberg’s string quartets. Chapter 7 (Abstract Form, Secret Program: String Quartet, Op. 7, 1904–5) considers the string quartet fragment (1903–4) and Op. 7 as originally the same quartet, and Haimo speculates that there was a

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program for the quartet that was suppressed because of the antipathy to programs in chamber music by the critics of the time. Chapter 11 (Motivic Economy: String Quartet No. 2, Op. 10, Movements 1 and 2, March–December 1907) deals with the first 2 movements because they are distinct from the latter 2 movements (which are programatic). It is a highly technical motivic analysis. 2117. Benson, Mark. “Schoenberg’s Private Program for the String Quartet in D Minor, Op. 7,” in The Journal of Musicology, xi (1993), 374–95. This is a brief history of Schoenberg’s longest instrumental work, composed in 1904–5, and publication for the first time of the composer’s program for the quartet, which is attached to the sketchbook of the piece and also indicated at points in the sketch of the music itself. Benson collates the program to specific measures in the final published version of the quartet as well as to another work, Op. 8, which Schoenberg was working on at the same time. Schoenberg used “the program to spur his own imagination and awaken the quartet from its ‘rest.’” 2118. Frisch, Walter. “Thematic Form and the Genesis of Schoenberg’s D-Minor Quartet, Opus 7,” in Journal of the American Musicological Society, xli (1988), 289–314. A technical analysis of Schoenberg’s early Op. 7 quartet. See 2112. 2119. Boestfleisch, Rainer. Arnold Schönbergs frühe Kammermusik: Studien unter besonderer Berücksichtigung der ersten beiden Streichquartette, in Europäische Hochschulschriften, Reihe XXXVI: Musikwissenschaft, Band 54. Frankfurt am Main/New York: Peter Lang, 1990. ISBN 3-6314-2932-0. ML410.S283B6.1990. 453 + xxx pages. Boestfleisch provides a detailed, exhaustive, thematic, and harmonic analysis of the String Quartets in D major (1898) and String Quartet in D minor (Op. 7, 1905), as well as a discussion of various chamber music fragments during the same early period of Schoenberg’s creativity. 2120. Hattesen, Heinrich Helge. Emanzipation durch Aneignung: Untersuchungen zu den frühen Streichquartetten Arnold Schönbergs, in Kieler Schriften zur Musikwissenschaft, xxxiii. Kassel: Bärenreiter, 1990. ISBN 3-7618-0983-3. 780.82.K5435.v.33.1990. x + 434 + 42 pages. Originally PhD dissertation. University of Kiel, 1988. Detailed analyses of the first 2 published string quartets, the early unpublished string quartet, and the quartet fragments of Schoenberg’s early years. The aim of the study is to determine what were the sources of Schoenberg’s compositional ideals and how they developed into the atonal, dodecaphonic, serial methods by the time of the second published quartet.

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2121. Schindler, Kurt. Arnold Schönberg’s Quartet in D Minor Op. 7: An Introductory Note by Kurt Schindler as Delivered by Him at the Private Performance by the Flonzaley Quartet, at the Cort Theatre, New York, December 28th, 1913: followed by an Index of Musical Themes. New York: G. Schirmer, 1914. 787 Sch63S. iii + 10 pages + 5 pages of music. Most of the essay is an attempt to characterize Schoenberg the composer (and painter!), who has attracted great attention abroad but is little known in America. Schindler finds that Schoenberg’s compositions fit into 3 periods(!): the early period is romantic, the second is contrapuntal, and the third is mad. The quartet fits into the second period. Schindler divides this 52 minute, 1-movement quartet into 3 parts: I = sonata (with fugato between first and second themes) + scherzo with trio; II = Durchführung (development), and III = recapitulation + rondo finale. He notes the logic of its construction based on thematic development: Schoenberg always thinks contrapuntally. He paraphrases Betti, who finds Schoenberg closer to Beethoven’s quartets than late Beethoven was to Haydn’s early quartets. 2122. Burkholder, James Peter. “Musical Time and Continuity as a Reflection of the Historical Situation of Modern Composers,” in The Journal of Musicology, ix (1991), 412–29. Includes discussion of Schoenberg’s Op. 7 String Quartet in D minor. 2123. Niederberger, Maria Anna. “Schoenberg’s Intricate Structure: An Analysis Approach to his String Quartet in D Minor, Op. 7 (with) Piano Quintet.” PhD dissertation. Brandeis University, 1991. DAI Vol. lii (November 1991), p. 1565A. 151 pages. Niederberger’s thoughts are based on Schoenberg’s own statement that he integrated 4 distinct movements into 1 in this quartet through a unifying principle based “on the intricate structure of the themes.” 2124. Schmidt, Christian Martin. “Schönbergs ‘very definite – but private’ Programm zum Streichquartett opus 7,” in Bericht über den 2. Kongress der Internationalen Schönberg-Gesellschaft Wien 12. – 15. Juni 1984: ‘die Wiener Schule in der Musikgeschichte des 20. Jahrhunderts,’ eds, Rudolf Stephen and Sigrid Wiesmann, in Publikationen der International Schönberg-Gesellschaft, ii (Vienna: 1986), 230–4. For the reception of Op. 7 in Canada see 497. 2125. Zhou, Weijuan. “Xunboge D xiaodiao xianyue sichongzou (Op. 7) de zhuti goujian.” Yinyue-yishu Shanghai: Yinyue Xueyuan xuebao

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Art of Music Journal of the Shanghai Conservatory of Music, iii:106 (Fall 2006), 21–7. Zhou considers how far Brahms’s principle of thematic construction is to be seen in Schoenberg’s String Quartet in D minor Op. 7. 2126. Hauer, Christian “Hermeneutics of Musical Creation: Schoenberg’s String Quartet No. 2 Opus 10,” in Musical Semiotics Revisited. Acta Semiotica Fennica, No. 15, Eero Tarasti, ed., and Paul Forsell and Richard Littlefield, asst. eds. (Helsinki: International Semiotics Institute, 2003, ISBN 9525431037), 520–9. The Second String Quartet was written to answer a musical and existential question that Schoenberg faced. The quartet passes from tonality in the first movement to atonality in the fourth. Why did Schoenberg write this quartet at the time he did (1907–8) and where he did (Vienna)? The path Schoenberg took was based on answers to these questions. Schoenberg’s decisions were those of the composer (based largely on his sense of loss at the departure of his mentor, Mahler, to America) and thus he is the sender of these decisions to the world by means of the composition. But Schoenberg was also the receiver of influences that helped cause him make those decisions; in particular, he was influenced by the poems of Stefan George. The process by which Schoenberg created his quartet is described as entrückung whereby he withdrew from the real world into a world of genius. The process began with the quartet but entrückung was not fully achieved until Schoenberg returned to Judaism in the 1920s, established the 12-tone method, and became the Moses of German music and the Jews. 2127. Hahn, Chun-Fang Bettina. “Schoenberg and Bakhtin: Dialogic Discourse in the String Quartet, Op. 10, No. 2.” PhD dissertation. Indiana University, 2004. ISBN: 0496959174. xii + 255 pages. In this quartet, Schoenberg challenges conventional theories of tonality and dissonance so that the listener is freed to make his/her own sense of the sounds. This new freedom is described by Mikhail Bakhtin (1895–1975) as “dialogic imagination.” Hahn studies the polyphonic style of the quartet and its use of non-harmonic tones as harmonic tones that free the music from traditional, homogeneous theories. There is also a dialogue between the high culture of the quartet and the low culture of the borrowed folksong, “Ach, Du lieber Augustin.” Schoenberg’s achievement is in the reconciliation of different “opinions” in the dialogue. 2128. Bailey, Walter B. “‘Will Schoenberg Be a New York Fad?’: The 1914 American Premiere of Schoenberg’s String Quartet in D Minor,” in American Music, xxvi (Spring 2008), 37–73.

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Bailey offers a lengthy discussion of the newspaper and magazine criticisms of modern music during the first 2 decades of the 20th century, but does not limit it to chamber music. Within that context, Bailey assesses what New Yorkers expected before hearing Schoenberg’s D minor Quartet and how they responded to actually hearing it performed by the Flonzaly Quartet. The Musical America article on December 20, 1913 (“Will Schoenberg Be a New York Fad?”) compared the quartet to the objectionable new art style of cubism. American audiences were misled by the critics, who attributed many more modernist sounds to the piece than it actually has, yet American audiences were much more accepting of the new work once they had heard it. 2129. Neff, Severine. “Scandal and Painting: Schönberg’s Visual Art and his Second String Quartet, Op. 10,” in Der Maler Arnold Schönberg: Bericht zum Symposium, 11.–13. September 2003 (Arnold Schönberg the Painter: Report of the Symposium, 11–13 September 2003) (Vienna: Arnold Schönberg Center, 2004, ISBN: 3902012099). Schoenberg painted his first self-portrait in response to the riot that ensued during the premier of his Second String Quartet in Vienna on December 21, 1908. Subsequently, Schoenberg again painted selfportraits as a diary of his emotions. The negative criticism of the second quartet was due partly to the anti-Mahler position of some critics whom Schoenberg regarded as apeling creatures (in Strindberg’s original definition of the word as inferior creatures). After the quartet’s German premier, Wassily Kandinsky painted 3 abstract works in 1911 that were inspired by the quartet. See also Severine Neff, Arnold Schoenberg: The Second String Quartet in F-sharp Minor, Op. 10. New York: W.W. Norton, 2006. ISBN: 0393978028. 340 pages. Neff gives us a score with significant historical and analytical discussion. 2130. Dale, Catherine. Tonality and Structure in Schoenberg’s Second String Quartet, Op. 10. New York: Garland Publishing, 1993. ISBN 0-8153-0951-1. xix + 380 pages. Originally PhD dissertation. A segment published as “Tonality and Structure in Schoenberg’s Second String Quartet, Op. 10,” in Music Theory Spectrum, xvi (1994), 250–60. A Schenkerian analysis of Schoenberg’s piece. It is worth comparing this with the review by Severine Neff in NOTES, li (1993), 914–17. 2131. Fahlbusch, Markus. “Deklamation in Arnold Schönbergs 2. Streichquartett op. 10,” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 175–194.

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A detailed analysis of the structure of the text of the second quartet, from Der siebente Ring by Stefan George, and Schoenberg’s setting of it. 2132. Jordan, Myles. “Autobiographical Aspects of Schoenberg’s Second String Quartet.” DMA dissertation. Temple University, 1999. x + 94 leaves. Jordan traces citations in this quartet to their origins in Wagner, Mahler, and Schubert and demonstrates that these “borrowings” were the result of the personal conditions of his life in Vienna, such as poverty, anti-Semitism, marital problems, and critical rejection of his work. Jordan then tries to show how understanding these issues affects the performance of the quartet. Jordan is the cellist in the DaPonte String Quartet and writes not only as an experienced performer but as a scholar. This is a readable and excellent discussion. 2133. Dale, Catherine. “Schoenberg’s Concept of Variation Form: A Paradigmatic Analysis of Litanei from the Second String Quartet, Op. 10,” in Journal of the Royal Musical Association, cxviii (1993), 94+. 2134. Dale, Catherine. “Foreground Motif as a Determinant of Formal and Tonal Structure in the First Movement of Schoenberg’s Second String Quartet,” in The Music Review, lii (1991), 52–63. 2135. Neff, Severine. “Ways to Imagine Two Successive Pieces of Schoenberg: the Second String Quartet, Opus 10, Movement One; the Song, ‘Ich darf nicht dankend,’ Opus 14, No. 1.” PhD dissertation. Princeton University, 1979. DAI xxxix.12A, p. 7048. 121 pages. A detailed, technical analysis of the structure of the quartet movement that shows basic major and minor third symmetries, which link into minor second symmetries at cadences. 2136. Hauer, Christian. “La citazione di una canzone popolare viennese nel Secondo Quartetto d’archi op. 10 di Schoenberg: una interpretazione insieme musicale, spirituale e socio-politica,” in Musica/ Realta, xv (1995), 51–70. 2137. Moraitis, John. “‘Die Luft von anderem Planeten’: Metaphysical Resonances in Arnold Schoenberg’s Second String Quartet.” PhD dissertation, University of Wisconsin – Madison, 2007. ii + 227 pages. Schoenberg believed in the metaphysical powers of absolute music and turned away from traditional tonal music in absolute genres because it had become too intertwined historically and socially with extra-musical associations. In the Second String Quartet, Schoenberg achieved the unity of the material and immaterial. Although many modern thinkers challenge the possibility of absolute music, Schoenberg believed in it and dealt with it.

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2138. Veksler, Julija. “Berg i Senberg: Stranicy perepiski,” in Muzykal’naja Akademija, iii (2004), 196–219. The composer’s 1918–1935 letters give insights into performances of Schoenberg’s Guerre-Lieder, Third String Quartet, and Kammersymphonie and some of his non-chamber works. 2139. Annicchiarico, Michael Joseph. “A study of Entrueckung: from the Second String Quartet of Arnold Schoenberg, Op. 10.” PhD dissertation. Brandeis University, 1994. DAI Vol. lv (October 1994), p. 787A. 196 pages. Annicchiarico studies the poem, “Entrückung,” which is sung in the Second Quartet, and how it is set. The setting is a breakthrough by Schoenberg in atonal structure and form. For discussion of the Third and Fourth Quartets, see Christian Martin Schmidt’s “Das Bekenntnis zur Tradition: Bemerkungen zu Schönbergs III. Und IV. Streichquartett” in 217. 2140. Hyde, M. M. “Neoclassic and Anachronistic Impulses in TwentiethCentury Music,” in Music Theory Spectrum, xviii (1996), 220–35. Deals with Schoenberg’s Third String Quartet. 2141. Simpson, Raynold. “New Sketches, Old Fragments, and Schoenberg’s Third String Quartet, Op. 30,” in Theory and Practice, xvii (1992), 85–101. 2142. Glasow, Glenn Loren. “Variation as Formal Design and Twelve-tone Procedure in the Third String Quartet by Arnold Schoenberg.” DMA dissertation. University of Illinois, 1967. UMI 68–8088. DAI xxviii.12A, pp. 5089–90. 243 pages. Glasow seeks the relationship between variation as form and variation as a 12-tone procedure. The particular movement was chosen because it has both types in it. Glasow gives a detailed theoretic discussion and concludes that the relationship is inconsistent and unpredictable. 2143. Polth, Michael. Zur kompositorischen Relevanz der Zwölftontechnik: Studie zu Arnold Schönbergs drittem Streichquartett. Berlin: Kuhn, 1999. ISBN 3-92886-4629. ML3811.P65Z87.1999. 126 + 23 pages. Polth offers a carefully worked-out theoretical discussion of how Schoenberg’s 12-tone technique interfaces with the melodic, harmonic, and formal aspects of traditional music as revealed in his Third String Quartet, especially in the first movement. He shows that Schoenberg interrupted the dodecaphony whenver he had musical

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reasons for doing so based on traditional concepts, some derived from rhetoric. Rather than blaming Schoenberg for inconsistencies or calling the dodecaphonic and traditional systems incompatible, as some have done, Polth shows how Schoenberg rose above such technical rigidity to create music. 2144. Dietrich, Norbert. Arnold Schönbergs Drittes Streichquartett op.30: seine Form und sein Verhältnis zur Geschichte der Gattung, in Beiträge zur Musikforschung, Band 12. Munich/Salzburg: Emil Katzbichler, 1983. MT 145.S26D54.1983. ISBN 3-87397-261-1. 195 pages. PhD dissertation. University of Heidelberg, 1981. This is a technical but readable analysis for advanced students and scholars on a crucial aspect of 12-tone composition. After a brief but important introduction, Dietrich gives a lengthy discussion of each of the 4 movements of this first atonal quartet in history. With the absence of tonality, Schoenberg had to discover a means to sustain longer forms (longer forms in tonal systems depend on tonality). In this quartet, he stuck strictly to the clear forms of a classical string quartet: 4 movements, first most important and in sonata form, fourth next in importance but lighter, the inner movements even less weighty but contrasting. The analysis starts from the premise that there is a connection between pure 12-tone structure and the musical content; in this, Dietrich opposes Ch. Möllers, Reihentechnik und musikalische Gestalt (1977), who finds no point in using 12-tone technique since it is meaningless for form. Since tonality is out, Schoenberg accepts traditional form per se and other criteria than tonality. Dietrich puts this problem in context of historical quartets (Beethoven, Mozart, Haydn) and Schoenberg’s first 2 quartets. He considers the smallest elements of formal sections in relation to the 12-tone row, then those sections within the larger formal scheme, and at times the historical precedence in any genre of composition for what Schoenberg is doing. See also 2159. 2145. Jeffery, Christopher. “Serial Meaning: a Semiotic/Narratological Analysis of Arnold Schoenberg’s Third String Quartet, First Movement.” Dissertation. Universiteit van Stellenbosch, 2005. 92 leaves. 2146. Peles, Stephen V. “Interpretations of Sets in Multiple Dimensions: Notes on the Second Movement of Arnold Schoenberg’s String Quartet #3,” in Perspectives of New Music, xii (1983–1984), 303–52. This is a highly technical discussion of the movement based on Schoenberg’s own belief that the row (set) is a “super motive” that acts

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as an organizing factor in the thematic world of the piece and not only as an “uninterpreted pitch-class succession.” Thus, Peles considers the movement from the standpoint of the interaction of the set on the piece, the nature of the compositional decisions that relate to the set and the piece, and “that interpretational universe wherein chosen compositional representations may impose crucial adjacency relations upon set elements which are otherwise distinctly non-adjacent when regarded in their precompositional, uninterpreted state.” He studies the implications of the set for this movement as an abstract set, and then focuses on the interpolations into those implications in the movement as Schoenberg wrote it. 2147. Stein, Erwin. “Schoenberg’s New Structural Form,” in Modern Music, vii (June–July 1930), 3–10. Stein demonstrates Schoenberg’s new 12-tone system in the Third String Quartet. He emphasizes the idea of “series” as “the tonal material of a composition … borrowed from the chromatic scale and grouped in a special arrangement.” The manipulations of the series leaves Schoenberg a lot of room to express his musical ideas and in no way restricts the profile of a melody. Stein does not present a numerical accounting of the use of the row in the quartet but, rather, selects specific uses of the row to demonstrate some of the things Schoenberg does. This is designed as an introduction to Schoenberg’s method for the layperson; it is still useful today. 2148. Haimo, Ethan. “Tonal Analogies in Arnold Schönberg’s Fourth String Quartet,” in Arnold Schoenberg in America: Bericht zum Symposium / Report of the Symposium 2.–4. Mai 2001. Therese Muxeneder and Iris Pfeiffer, eds. (Vienna: Arnold Schönberg Center, Universität für Musik und darstellende Kunst Wien, 2002, ISBN 3-902012-04-8), 219–28. While not a tonal piece, the Fourth String Quartet uses a concept of form found in tonal music. Schoenberg starts the first movement with a region (the opening section) limited to a specific treatment of the row, moves to another region (contrasting section) with another specific treatment of the row, and in a third section returns to the first region—just as in tonal music the first tonality contrasts with a second tonality only to return to the first at the end. 2149. Mangeot, André. “Schönberg’s Fourth String Quartet,” in The Music Review, iii (1942), 33–7. A thematic and harmonic analysis that does not even mention “row.” Mangeot stresses Schoenberg’s morbid “humor,” which results from the frequent diminished ninths and major sevenths.

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2150. Winham, Godfrey Charles. “Schoenberg’s Fourth String Quartet: Vertical Order of the Opening,” in Theory and Practice, xvii (1992), 59–65. 2151. Wintle, Christopher. “An Island Formation in Schoenberg’s Fourth String Quartet: Notes from a Diary,” in Sing, Ariel: Essays and Thoughts for Alexander Goehr’s Seventieth Birthday, Alison Latham and Julian Anderson, eds. (Aldershot: Ashgate, 2003), 291–8. A personal reminiscence of a lecture Goehr gave in 1994 prior to a performance of the Fourth String Quartet. Wintle points out the importance of the tritone to Schoenberg in the 1930s and the use of an island formation (bridge, measures 62 to 65 in the first movement of this quartet) between the first and second themes. This brief, rambling talk assumes previous study of the piece. 2152. Haimo, Ethan. “Aspects of Set-Structure in Schoenberg’s Opp. 36 and 37,” in Israel Studies in Musicology, v (1990), 131–45. Analysis of the Violin Concerto and the Fourth String Quartet. 2153. Drude, Matthais. “‘Eine reine Familienangelegenheit’? Entwickelnde Variation und Zwölftontechnik in Schönbergs 4. Streichquartett op. 37,” in Musica, xlviii (1994), 78–82. See also 872. 2154. Neighbour, Oliver W. “A Talk on Schoenberg for Composers’ Concourse,” in The Score, No. 16 (June 1956), 19–28. Neighbour analyzes the first movement of the Fourth String Quartet, which is in sonata form. The row and rhythmic idea merge at the opening and recur together; different forms of the row require different rhythms. Neighbour justifies a tonal-based reaction to hearing the opening. 2155. Cubbage, John Rex. “Directed Pitch Motion and Coherence in the First Movement of Arnold Schoenberg’s Fourth String Quartet.” PhD dissertation. Washington University, 1979. UMI 80–02443. DAI xl.7A, p. 3613. 303 pages. Cubbage defines “directed pitch motion” as pitch patterning, and demonstrates it in an atonal work. The dissertation contains graphs. It is a highly technical, theoretical work. 2156. Kurth, Richard. “The Art of Cadence in Schönberg’s Fourth String Quartet: Metric Discourse or Metric Dialectic?” in Arnold Schoenberg in America: Bericht zum Symposium / Report of the Symposium 2.–4. Mai 2001, Therese Muxeneder and Iris Pfeiffer, eds (Vienna: Arnold

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Schönberg Center, Universität für Musik und darstellende Kunst Wien, 2002, ISBN 3-902012-04-8), 245–70. This is a study of the metric interactions during the first movement of the fourth quartet to observe how they act as cadences—finalizing a previous phrase or section and anticipating the next phrase or section. Kurth provides a detailed theoretic discussion in a new area of Schonberg research. 2157. Pascall, Robert. “Theory and Practice: Schönberg’s American Pedagogical Writings and the First Movement of the Fourth String Quartet, op. 37,” in Arnold Schoenberg in America: Bericht zum Symposium/ Report of the Symposium 2.–4. Mai 2001, Therese Muxeneder and Iris Pfeiffer, eds (Vienna: Arnold Schönberg Center, Universität für Musik und darstellende Kunst Wien, 2002, ISBN 3-902012-04-8), 229–44. By studying what Schonberg wrote for his students, that they should understand great music of the past, we may have an insight into what he regarded in his own music as important. The first movement of the Fourth String Quartet is taken as a case in point. The article focuses on the evolution of motives. 2158. Cherlin, Michael. “Schoenberg and ‘das Unheimliche’: Spectres of Tonality,” in The Journal of Musicology, xi (1993), 357–73. A literate discussion of repressed tonal identities in Schoenberg’s Fourth String Quartet. For discussion of the woodwind quintet, see Erwin Stein’s article 745; Langdon Corson’s Arnold Schoenberg’s Woodwind Quintet, Op. 26: Background and Analysis, ed. by Roy Christensen 746; and: 2159. Haimo, Ethan. Schoenberg’s Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914–1928. Oxford: Clarendon Press/New York: Oxford University Press, 1990. ISBN 0-1931-5260-6. ix + 192 pages. The Wind Quintet, Op. 26, and the Third String Quartet get special attention, in the context of how Schoenberg developed his 12-tone method. The use of hexachords and the combination of different sets receive more mature development in the Third String Quartet. 2160. Greissle, Felix. “Die formalen Grundlagen des Bläserquintetts von Arnold Schönberg,” in Musikblätter des Anbruch, vii (1925), 63–8. This article is written by the conductor of the premier (also Schoenberg’s son-in-law). He analyzes Schoenberg’s use of the row in the Wind Quintet.

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2161. Förster, Anton. Reihe und Form: analytische Studie zu Arnold Schönbergs Bläserquintett op. 26, in Wissenschaftliche Schriften: Musikwissenschaft. Sinzheim: Pro Universitate Verlag, 1999. MT145. S26F67.1999. ISBN 3-932490-49-5. 440 pages. Originally Tübingen University Dissertation, 1997. A highly technical theoretical analysis of the tone row in Schoenberg’s Wind Quintet and its generation of the forms of the piece. This is for advanced scholars in music theory. 2162. Jordan, Roland Carroll, Jr. “Schoenberg’s String Trio, Op. 45: an Analytic Study.” PhD dissertation. Washington University, 1973. UM 74–7046. DA xxxiv.12A, p. 7808. 279 pages. Jordan gives a history and a bibliography of the trio, including a review of previous studies of the piece and an investigation into “Schoenberg’s use of hexachords with invariant content.” He proposes a general system of related transposition that defines a comprehensible shape for the work. He studies the rows and other serial elements as well, and concludes with “an experiment in the establishment of relationships between the description of the trio and its technical organization.” Appendices include rows, analysis, and a list of errors in the published score. 2163. Peel, John M. “On Some Celebrated Measures of the Schoenberg String Trio,” in Perspectives of New Music, xiv, No. 2 and xv, No. 1 (1976), 260–79. Peel presents a detailed, mathematical analysis of measures 12 to 17.5 of the trio, which form a completed phrase and synthesize previous elements that will be exploited later. He corrects the score, and then goes into the complex details of intervals and pitches and their set implications. This article is for professional theorists only. 2164. Cherlin, Michael. “Memory and Rhetorical Trope in Schoenberg’s String Trio,” in Journal of the American Musicological Society, li (1998), 559–602. A technical analysis of Schoenberg’s String Trio, Op. 45, in light of the composer’s previous compositional conceptions. Cherlin shows that Schoenberg uses those previous devices inconsistently and imperfectly. 2165. Hymanson, William. “Schönberg’s String Trio (1946),” in The Music Review, xi (1950), 184–94. A detailed analysis of the use of the row in the trio. Schoenberg has a plan within a plan, that is, a larger plan based on a 12-tone row or

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some motivic development, and a smaller plan or unit sometimes using only a half-row and not dependent on the order. For additions to and a few corrections of Hymanson, see O.W. Neighbour, “Dodecaphony in Schoenberg’s String Trio,” in Music Survey, iv (1952), 489–90. 2166. Hill, Richard S. “Arnold Schoenberg: String Trio,” in NOTES, viii (1950), 127–9. An analysis of the trio solely from the standpoint of Schoenberg’s use of 4 rows subdivided into hexachords. 2167. Schmidt, Christian Martin. “Arnold Schönberg: Streichtrio op. 45,” in Melos (1985), 33–44. 2168. Schmidt, Christian Martin. “Materialien für eine Analyse des Streichtrios op. 45 von Arnold Schönberg,” in Der Wiener Schule heute, ed. Carl Dahlhaus, in Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt, Band 24 (Mainz: Schott, 1983), 33–44. 2169. Herlin, Michael. “Memory and Rhetorical Trope in Schoenberg’s String Trio,” in Journal of the American Musicological Society, li (Fall 1998), 559–602. 2170. Lewin, David. “Generalized Interval Systems for Babbitt’s lists, and for Schoenberg’s String Trio,” in Music Theory Spectrum, Vol. xvii (1995), 81–118. 2171. Straus, Joseph N. “Disability and ‘Late Style’ in Music,” in Journal of Musicology, xxv (Winter 2008), 3–45. After a brief but valuable discussion of what constitutes a composer’s late style, Straus introduces the concept of disability as a more meaningful factor in a composer’s life that determines him/her to write “late style” music (thus, “disability style”). Among the 4 examples chosen to demonstrate this is Schoenberg’s late String Trio (1946), written when the composer thought he was having a heart attack. 2172. Boykan, Martin. Silence and Slow Time: Studies in Musical Narrative. Lanham (MD): Scarecrow Press, 2004. ISBN 0810847515. ix + 255 pages. In a collection of thought-provoking essays on different aspects of music, the composer Boykan considers various aspects of chamber music. The biggest consideration of such music is with the thematic and harmonic process of Schoenberg’s String Trio, Op. 45 that suggests a somewhat oblique relation to the apocalyptic moment (Chapter 9, pages 197–236).

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2173. Staempfli, Edward. “Das Streichtrio opus 45 von Arnold Schönberg,” in Melos, xxxvii (1970), 35–9. Staempfli considers the origins of this trio written just after Schoenberg’s near-fatal illness of 1946. It is revolutionary and conservative at the same time. He gives a detailed analysis coupled with reflexion on Schoenberg’s total output and on Webern’s String Trio Op. 20. 2174. Martz, Robert William. “The Role of the Trichord as the Basic Structural Unit of the String Trio by Arnold Schoenberg.” DMA dissertation. University of Illinois at Urbana-Champaign, 1999. DAI Vol. lx (March 2000), p. 3195A. 112 pages. A technical analysis of Schoenberg’s Op. 45 Trio. Martz finds “that it is the trichord along with trichordal partitioning rather than the hexachord that forms the basis for the piece.” 2175. Pfannkuch, Wilhelm. “Zu Thematik und Form in Schönbergs Streichsextett,” in Anna Amalie Abert and Wilhelm Pfannkuch, eds, Festschrift Friedrich Blume zum 70. Geburtstag (Kassel: Bärenreiter, 1963), 258–71. ML 55.B58A2. Scholarly, highly technical analysis of “Verklärte Nacht,” Op. 4, as a chamber piece. The 1-movement piece is a contraction of numerous movements into a single, tightly organized, non-sonata-form movement. 2176. Mead, Andrew Washburn. “Tonal Forms in Arnold Schoenberg’s Twelve-Tone Music,” in Music Theory Spectrum, ix (1987), 67–92. Analysis of Schoenberg’s Quintet for Winds, Op. 26. 2177. Butz, R. “Untersuchungen zur Reihentechnik in Arnold Schoenbergs Blaeserquintett op. 26,” in Archive für Musikwissenschaft, xlv (1988), 251–85. 2178. Stein, Erwin. “Zu Schoenbergs neuer Suite Op. 29,” in Musikblätter des Anbruch, ix (1927), 280–1. A brief description of the structure of the 4-movement Suite for 3 clarinets (or other optional woodwinds) + violin + viola + cello + piano. It has a constant play between the 3 bodies of sound: woodwinds, strings, and piano. The movements are formally based on typical Baroque suite movements. The suite stands out for its rhythm. Johann Schop 1590–1667 2179. Moser, Andreas. “Johann Schop als Violinkomponist,” in Max Friedlaender, Henri Hinrichsen, Max Seiffert, and Johannes Wolf, eds, Festschrift Hermann Kretzschmar zum siebzigsten Geburtstage

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überreicht von Kollegen Schülern und Freunden (Leipzig: C.F. Peters, 1918), reprint Festschrift Hermann Kretzschmar zum 70. Geburtstage überreicht von Kollegen, Schülern und Freunden (Hildesheim/New York: Georg Olm, 1973), 92–5. ML 55.K845.1973. Moser gives an assessment of the virtuoso technique of the German violinist Schop as demonstrated in works that survive in T’Uitnement Kabinet (Amsterdam: Paulus Matthyss, 1646). The pieces by Schop include a Praeludium for solo violin, dances for violin + bass, 6 allemands a3, and 2 pieces for 2 violins or 2 viole da gamba + another instrument. Franz Peter Schubert 1797–1828 The standard catalogue of Schubert’s music including chamber works is Otto Erich Deutsch, Schubert: Thematic Catalogue of All his Works in Chronological Order (New York: W.W. Norton, [1951]), xxiv + 566 pages. ML 134. S38D44.1951a. German trl. and ed. Werner Aderhold, Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge, supplement to Neue Ausgabe sämtlicher Werke, Series viii, Band. 4 (Kassel: Bärenreiter, 1978), xxiii + 712 pages. ML 134.S38 D445.1978. ISBN 3-7618-0571-3. A paperback edition (Kleiner Ausgabe), eds, Werner Aderhold, Walther Dürr, and Arnold Feil (Munich: Deutscher Taschenbuch/Kassel: Bärenreiter, 1983), 303 pages. ML 134.S38D45.1983. ISBN 3-423-03261-8; 3-7618-3261-3. For a non-technical introduction to Schubert’s chamber music, see the essay by William Mann in Alec Robertson, ed. Chamber Music 212. 2180. Westrup, Jack A. Schubert Chamber Music, in BBC Music Guides, No. 5. Seattle: University of Washington, 1969. MT 145.S28W48.1969. 63 pages, 40 examples. A non-technical discussion, for the layperson, of each of Schubert’s principal chamber works. It contains an index of works by genre with Deutsch number and bibliography. 2181. Laciar, Samuel L. “The Chamber-Music of Franz Schubert,” in The Musical Quarterly, xiv (1928), 515–38. A general, brief analysis of the form and style of the chamber music, with special emphasis on the quartets and piano trios. For a good, short summary of Schubert’s chamber music, see Stephen E. Efling and David S. Tartakoff ’s chapter in 215. 2182. Schauffler, Robert Haven. Franz Schubert: The Ariel of Music. New York: G.P. Putnam’s Sons, 1949. ML 410. S3S25. Part II, Chapters 32–7, pages 203–62, are devoted to chamber music.

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This is a popular biography and discussion of the more important works. Each movement is described briefly with the principal melodies quoted, using delicious metaphors. Schauffler brings in personal anecdotes from the author’s perspective as a professional cellist. 2183. Newbould, Brian. Schubert: The Music and the Man. Berkeley: University of California Press, 1997. ML410.S3.N48.1997. ISBN 0-52021065-4. 465 pages. Newbould includes specific chapters on the chamber music (Chapters 8 and 21), discussed historically within the framework of the biography of Schubert. He provides a rare discussion of the early chamber music. He gives brief, general analyses. 2184. Rosen, Charles “Schubert and the Example of Mozart,” in Schubert the Progressive: History, Performance Practice, Analysis, Brian Newbould, ed. (Aldershot/Burlington: Ashgate, 2003, ISBN 0754603687). 2185. Huschke, Konrad. Das Siebengestirn der grossen Schubertschen Kammermusikwerke. Pritzwalk: Adolf Tienken, 1928. ML 410.S3H8. 64 pages. Huschke presents a non-scholarly survey of Schubert’s chamber music with special emphasis on the masterpieces of 1824–1828: Octet Op. 166, String Quartets in A minor, D minor and G major, the 2 piano trios, and Quintet Op. 163. The analyses are designed for laypersons, with emotive metaphors fairly accurately drawn; Huschke makes comparisons with Beethoven’s works. 2186. Chusid, Martin. “The Chamber Music of Franz Schubert.” PhD dissertation. University of California, 1961. Chusid shows how Schubert, in his chamber music, resolved the contrast between Classical clarity of harmony, tonality and forms based on tonal direction and Romantic ambiguity of harmony, tonality and forms based on thematic organization. He considers different stages in Schubert’s output and analyzes specific movements with regard to harmony, texture, melody, and form. 2187. Straeten, Edmund van der. “Schuberts Behandlung der Streichinstrumente mit besonderer Berücksichtigung der Kammermusik,” in Bericht über den internationalen Kongress für Schubertforschung Wien 25. bis 29. November 1928 (Augsburg: Dr. Benno Filser, 1929), 131–40. Schubert inherited the high level of violin technique from ViottiRode and as demanded by Beethoven and developed it further in his own way. His melodies may come from heaven, but his violin

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technique he understood from the violinists whom he knew—Böhm, Mayseder, and Hellmesberger—as well as the cellist Linke. From them, he learned bowed staccato for longer passages. Schubert tended to orchestral string writing in his quartets. Straeten considers trills and the higher ranges of the instrument. The later works add little to the technical demands of the earlier pieces. 2188. Denny, Thomas Arthur. “The Finale in the Instrumental Works of Schubert.” PhD dissertation. University of Rochester, Eastman School of Music, 1982. DAI xlii.9A, p. 3801. 284 pages. Denny refutes the accusation that Schubert’s instrumental finales are flawed. He goes into considerable depth in showing that Schubert had other ideas of the recapitulation than standard theorists and uses the B-flat Trio, E-major symphony, and Quartettsatz to prove the point. Schubert was not interested in “heavy” finales; and when he attempts heavy finales, he is far less successful than when he uses lighter ones. 2189. Sachse, Hans-Martin. Franz Schuberts Streichquartette. Münster in Westfalen: Max Kramer, reproduced typescript, 1958. MT 145.S23S3. PhD dissertation. University of Münster, 1958. iii + 333 pages. Sachse offers a scholarly study that dates and locates source material for the string quartets, including fragments and lost quartets. He analyzes all the first movements, then all the second movements, and so on. He divides the quartets into early, middle, and late; the first 2 groups are important only insofar as they pave the way for the late quartets. The lengthy analyses of the early and middle quartets are tiresome. The value of the book is largely in the opening and in a final chapter that assesses the obviously strong influences of Haydn, Mozart, and Beethoven on Schubert (primarily in the middle, not the outer movements). 2190. Deutsch, Otto Erich. “The Chronology of Schubert’s String Quartets,” in Music and Letters, xxiv (1943), 25–30. An important, brief discussion of Schubert’s 19 or so string quartets that dates the manuscripts and early publications. Deutsch lists the 19 known quartets (4 of which are completely or partially lost), cites date of publication, key, opus number, complete edition locations, dedications, first performances, first publication, and some additional information; he gives an excellent but dated bibliography on the subject. See also Hans Joachim Hinrichsen’s essay in 232. 2191. Ruff, Philipp. “Die Streichquartette Franz Schuberts.” PhD dissertation. University of Vienna, 1929.

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2192. Hinrichsen, Hans-Joachim. “Berührung der Extreme: zum Streichquartett-œuvre Franz Schuberts,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.-27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, xii (Vienna: Doblinger, 2006, ISBN: 3900695814), 33–45. A brief but intense overview of Schubert’s string quartets. The tonal, rhythmic and melodic analyses have frequent references to borrowed material. 2193. Coolidge, Richard A. “Form in the String Quartets of Franz Schubert,” in The Music Review, xxxii (1971), 309–25. Coolidge challenges the common opinion that Schubert was incompetent or dull in musical form. He briefly analyzes the forms of the movements of each of the 15 fully surviving quartets and concludes that Schubert is not weak, but different, in his handling of large forms. 2194. Hinrichsen, Hans-Joachim. “Das erste wirkliche Schubert-Quartett? Zur Bedeutung von Franz Schuberts Streichquartett in B-Dur (D 112),” in Schubert-Perspektiven, v (2005), 71–91. A detailed tonal analysis of the D 112 (1814) quartet, which is not the first Schubert quartet but the first to confront developmental and tonal issues that were to lead to Schubert’s mature style. The earlier quartets have original and interesting ideas, but between D 87 (1813) and D 112 he began to think in new ways about the genre. The original manuscript of D 112 is scrutinized for evidence of Schubert’s grappling with these issues. 2195. Reiser, Salome. Franz Schuberts frühe Streichquartette: eine klassische Gattung am Beginn einer nachklassischen Zeit. Kassel: Bärenreiter, 1999. ML410.S3R299.1999. ISBN 3-7618-1383-X. 263 pages. A fine historical and formal analysis of Schubert’s early string quartets (1810–13) and middle string quartets (1813–15), which the composer disowned in 1824 when he embarked on his 3 great late quartets (A minor, D minor, and G major). Reiser discusses the various kinds of quartets found in Vienna during the first decade of the 19th century (he chooses quartets by Haydn, Peter Hänsel, Andreas Romberg, and Joseph Mayseder to demonstrate the situation in which Schubert began to write quartets, and by Mozart to show where the middle quartets came from). This was a period in which the Classical string quartet was having to adjust to the new Romantic era.

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2196. Black, Brian Charles. “Schubert’s Apprenticeship in Sonata Form: The Early String Quartets.” PhD dissertation. McGill University, 1997. DAI Vol. lix (February 1999), p. 2773A. 562 pages. Deals with Schubert’s quartets written c.1810 to 1816 where he gradually develops his own concept of sonata form. 2197. Wolff, Christoph. “Schubert’s ‘Der Tod und das Mädchen’: Analytical and Explanatory Notes on the Song D531 and the Quartets D810,” in Eva Badura-Skoda and Peter Branscombe, eds, Schubert Studies: Problems of Style and Chronology (Cambridge: Cambridge University, 1982, ML 410.S3S996.1982, ISBN 0-521-22606-6), 143–71. The most important essay on the D-minor Quartet. Wolff presents a detailed analytical study of Schubert’s setting of the song, noting its dramatic and operatic characteristics, and then a briefer analysis of the quartet and the song’s penetration of it. He rejects a “cyclic” subject of death throughout the piece but finds that purely structural elements recur and the spirit of the song affects all the movements. 2198. Truscott, Harold. “Schubert’s D Minor String Quartet,” in The Music Review, xix (1958), 27–36. This is yet another attempt to prove that Schubert was, contrary to popular belief, a master of structure, based on arches of tonality. The author fails to convince with his argument that the tonal structure is of greater importance than Schubert’s lyricism and that the literal repetition of whole sections or melodies is a structural strength. 2199. Siegfried, E. “Das ‘Andante con moto’ aus dem Quartett D Moll von Franz Schubert,” in Neue Zeitschrift für Musik, xcviii (1902), 265–6. Siegfried views this movement as the battle between life and death. He produces a detailed description of the “Death and the Maiden” theme and its variation in this quartet movement. 2200. Brent-Smith, Alexander. Schubert: Quartet in D Minor and Octet, in The Musical Pilgrim. London: Oxford University, 1927. MT 145. S28.B7. 55 pages, 82 examples. Brent-Smith analyzes thematic motives, rhythms, and tonalities in these 2 pieces, punctuated with occasional extra-musical rhapsodizing. He gives brief historical comments, and concludes that “Death and the Maiden” shines on its spontaneous color, harmony and energy, despite some faulty architecture, unbalanced rhythms, and obscure harmonies. He compares the Schubert Octet with Beethoven’s Septet Op. 20. 2201. Hendricks, Karin S. “Bringing the Maiden to Life: A Guide for Deeper Student Comprehension and Expressive Performance of

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Schubert’s D Minor Quartet, through Historical, Structural, and Harmonic Score Aanalysis.” MA thesis. Brigham Young University, Department of Music Education, 2004. xv + 293 pages. 2202. Rast, Nicholas. “‘Schone Welt, wo bist du?’: Motive and Form in Schubert’s A Minor String Quartet,” in Schubert the Progressive: History, Performance Practice, Analysis, Brian Newbould, ed. (Burlington [VT]: Ashgate, 2003, ISBN 0754603687), 81–8. Rast considers the psychological and musical character of Schubert in 1824 that led him to quote his earlier songs in the A-minor String Quartet, and then determines how these quotations affect the quartet’s tonal structure. 2203. Sobaskie, James William. “Tonal Implication and the Gestural Dialectic in Schubert’s A-minor Quartet,” in Schubert the Progressive: History, Performance Practice, Analysis, Brian Newbould, ed. (Aldershot/Burlington: Ashgate, 2002/2003, ISBN 0754603687), 53–79. Spanish translation: “Implicaciones tonales y la dialectica gesturale en el cuarteto en la menor de Schubert,” in Quodlibet Revista de Especializacion Musical, xxxi (February 2005), 58–85. Schubert opens the Minuet of the quartet with what Sobaskie calls a prefex—an ambiguity in rhythm and tonality—that resolves several measures later in what he calls the object—a clear rhythm and tonality. This structure—overall described as precursive prolongation— pervades the movement and is what Schubert’s contemporaries found so charming. While Schubert is late Classical in form, precursive prolongation is not a flaw but a Romantic trait. The particular precursive prolongation idea (gesture) in the Minuet appears in all 4 movements of this quartet as the descending pattern E-C-A, which is borrowed from Schubert’s song “Strophe aus ‘Die Götter Griechenlands.’” The gesture also has its antithesis: A-C-E. A dialectic is formed by these 2 versions of the gesture, which is shown by Schenkerian theory to dominate the overall structure of the entire quartet. 2204. Burstein, Poundie. “Lyricism, Structure, and Gender in Schubert’s G Major String Quartet,” in The Musical Quarterly, lxxxi (1997), 51–63. Burstein discusses the concepts “masculinity” and “femininity” as they are used by various theoreticians and then considers how these metaphors, despite their problems, can be applied to the Schubert quartet. 2205. Truscott, Harold. “Schubert’s String Quartet in G Major,” in The Music Review, xx (1959), 119–45. A sequel to the same author’s analysis of the D minor Quartet. See Gillet’s commentary 2207.

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2206. Burnham, Scott G. “Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition.” 19th Century Music, xxix (Summer 2005), 31–41. Burnham presents an analysis of Schubert’s String Quartet in G major, Op. 161, to explain Adorno’s description of Schubert’s repetitions of whole themes as landscapes. These thematic repetitions, instead of being a development of the themes as found in Haydn and Beethoven, are like a change in atmosphere around an unmovable landscape. Burnham shows how repetition of whole themes occurs at the distance of minor or major thirds, which presents the same theme in a new, startling light. He also points out Schubert’s frequent repetition of single notes as part of his aesthetic of timelessness or death. 2207. Gillet, Judy. “The Problem of Schubert’s G Major String Quartet (D.887),” in The Music Review, xxxv (1974), 281–92. Previous critics of this quartet have discredited part or all of it, and even Truscott 2205, in trying to prove the worth of the last movement, fails to recognize the unity of the whole work. Truscott proposes that since the first 3 movements reach the “sublime,” the fourth movement, in its “grotesqueness,” must serve to bring the listener back to earth. Gillet believes Truscott is on the right track here, even if he does not follow it up, and she pursues more fully the concepts of “sublime” and “grotesque” as unifying principles as well as contrasting ones through the quartet. It is an important, thought-provoking analysis. 2208. Dahlhaus, Carl. “Über Schuberts Sonatenform: der erste Satz des G-Dur Quartetts D.887,” in Musica, xxxii (1978), 125–30. Dahlhaus warns against judging Schubert by using form and theory as practiced by Beethoven, since Schubert may not have been aware of Beethoven’s theory and, in any case, he had his own things to say. Schubert works in a kind of timelessness, especially in the second theme of this movement—opposed to Beethoven’s dramatic drive. He works in such a way that the later ideas grow out of earlier ones; yet this does not obscure the basic contrast of themes of the exposition (in other words, the merger of sonata and variation form). Dahlhaus analyzes the movement to prove this. 2209. Beach, David Williams. “Modal Mixture and Schubert’s Harmonic Practice,” in Journal of Music Theorie, Vol. xlii (Spring 1998), 73–100. Analysis of D.887 String Quartet in G major. 2210. Fieldman, Hali Annette. “Schubert’s Quartettsatz and Sonata Form’s New Way.” Journal of Musicological Research, xxi (2002), 99–146.

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Fieldman presents a detailed analysis of the Schubert quartet movement that demonstrates its conformity with the principle of sonata form as a dialectical process of motion and synthesis. Schubert is grappling with tonal motion that obeys the dialectical process even though it often violates traditional ideas of tonal relationships in sonata form, and in doing so he reimagines what sonata form is. Fieldman proves that Schubert continued to write sonata form in his own terms, that sonata form was intimately connected to the harmonic content of his music, that sonata form was important to his generation, and that modern theorists need to re-evaluate their traditional views of what sonata form is supposed to be. 2211. Wells-Harrison, W. Schubert’s Compositions for Piano and Strings: A Critical Study, in “The Strad” Handbooks, No. 2. London: John Leng/New York: Charles Scribner’s Sons, 1915. 787 Sch7115. iv + 94 pages. Wells-Harrison describes for the layperson the chronological events of each of the compositions discussed. Despite some gross inaccuracies (for example, he says that Schubert died at 39, and suggests that “his technique was on a slightly lower plane to his inspiration”), this is the only book devoted to this entire repertory. 2212. McKay, Elizabeth Norman. “Schubert’s String and Piano Duos in Context,” in Schubert Studies, ed. Brian Newbould (Aldershot: Ashgate, 1998), 62–111. A formal analysis of the 6 sonatas for violin and piano and the sonata for arpeggione and piano by Schubert. McKay also gives historical background to where, when, and why Schubert wrote the pieces. 2213. Vetter, Sophie-Mayuko. “Schuberts C-Dur-Fantasie für Violine und Klavier im Kontext der Kunst um ‘Giselle ou les Wilis’,” in Musik & Ästhetik, viii (October 2004), 43–60. Vetter associates the ethereal quality of the Schubert piece with the story of Giselle as later represented by Adolphe Adam, Heinrich Heine, and Theophile Gautier. While the Fantasie borrows elements from Schubert’s lied “Sey mir gegrüßt,” the zeitgeist in which Schubert composed the violin work is similar to that of the authors of the story of the Queen of the Willis, who has died a virgin on her wedding night and who then rises each night to dance with any hapless male who chances by. It is a detailed discussion. 2214. Orel, Alfred. “Franz Schuberts ‘Sonate’ für Klavier, Violine und Violoncell aus dem Jahre 1812,” in Zeitschrift für Musikwissenschaft, v (1922–3), 209–18.

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Orel discovers this lost early chamber work in the Vienna Stadtbibliothek (MH 126) and discusses the manuscript, handwriting, and errors. He considers why this piece was omitted from the complete works, along with other early pieces. He briefly considers the style of the sonata (trio), its chronological significance in Schubert’s development of sonata form, and its position vis-à-vis his other chamber music (string quartets in particular) in evaluating early Schubert music. 2215. Badura-Skoda, Eva. “The Chronology of Schubert’s Piano Trios,” in Eva Badura-Skoda and Peter Branscombe, eds, Schubert Studies: Problems of Style and Chronology (Cambridge: Cambridge University, 1982), 277–95. Badura-Skoda briefly mentions an early trio fragment D28, but concentrates on the 2 famous trios, Opp. 99 and 100, and a late fragment D897 (a rejected earlier version of the slow movement of Op. 99). Since the autograph for Op. 99 is lost, it cannot be dated precisely; but based on new watermark evidence, as well as a lot of other evidence, October–November 1827 seems likely. Op. 100 can be dated in November 1827 because it so states in Schubert’s handwriting on the 2 surviving autographs (1 a draft). 2216. Denny, Thomas Arthur. “Articulation, Elision, and Ambiguity in Schubert’s Mature Sonata Forms: the Op. 99 Trio Finale in its Context,” in The Journal of Musicology, vi (1988), 340–66. An analysis of the recapitulations in Schubert’s sonata forms, with that in the finale of Op. 99 being used as the example. Schubert was concerned with “formal closure”, which led him to try recapitulations that differed from those of other composers and that previously have been dismissed as “problematic.” See 1551 for another essay on Op. 99. 2217. Jost, Peter. “Die Forelle und die Festung Hohenasperg: Missverstaendnisse um ein Schubert-Lied,” in Neue Zeitschrift für Musik, cl (May 1989), 4–10. 2218. Geiringer, Karl. “Schubert’s Arpeggione Sonata and the ‘Super Arpeggio’,” in The Musical Quarterly, lxv (1979), 513–23. A brief history of this sonata and the peculiar “bowed guitar” for which it was written. The 5-note arpeggios that Schubert wrote are idiomatic for the arpeggione instrument but not for the cello. Since this is one of Schubert’s masterpieces, we must expect cellists to perform it, but with special care to recreate the arpeggione’s arpeggios.

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2219. Weiss, Piero. “Dating the ‘Trout’ Quintet,” in Journal of the American Musicological Society, xxxii (1979), 539–48. Schubert based his unusual scoring of the Quintet (1819) on a quintet arrangement by Hummel of Hummel’s own Septet Op. 74. Schubert also borrowed melodies from the Hummel piece. 2220. La Face Bianconi, Giuseppina. “La Trota fra conato e suoni: un percorso didattico.” Rivista Semestrale di Musicologia, xii (2005), 77–123. This is a long, detailed analysis of the Schubert song Die Forelle and the techniques of variation in the song that Schubert used in the fourth movement of his “Trout” string quintet. The poem of the song and the identities of the fish and the narrator are reflected in the variations as well. The evils and violence of the real world can be assuaged by retreat into the beauty of art (the quintet), which in turn ameliorates the odiousness of that world. Schubert’s message is still important today. 2221. Abert, Anna Amalie. “Rhythmus und Klang in Schuberts Streichquintett,” in Heinrich Hüschen, ed., Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag am 7. Juli 1962 (Regensburg: Gustav Bosse, 1962), 1–11. ML 55.F35H8. The addition of a fifth instrument to the C-major Quintet Op. 163 allowed Schubert a synthesis between chamber and symphonic music, which he apparently unwillingly had suppressed in his quartets. In the quartets, especially the late ones of the 1820s, there is already a dichotomy or rhythmic counterpoint between melody-group and rhythmic-group (often ostinato) instruments. Now, in the quintet, this dichotomy becomes a basic principle in all but the scherzo. Brahms does this as well. Abert produces a scholarly, erudite, yet always readable essay that helps anyone to understand Schubert’s chamber music. 2222. Gülke, Peter. “In What Respect a Quintet? On the Disposition of Instruments in the String Quintet D956,” in Eva Badura-Skoda and Peter Branscombe, eds, Schubert Studies: Problems of Style and Chronology (Cambridge: Cambridge University, 1982), 173–85. ML 410.S3S2996.1982. ISBN 0-521-22606-6. In this quintet, Schubert started a new structural and psychological exploration: “the contrast between concord and conflict in the relationship of structure and scoring as an important element of the composition.” Gülke gives an analysis of the piece from this standpoint, and makes an effort to disprove Brown’s statement (M.J.E. Brown, Schubert: A Critical Biography [London: 1958], 292) that

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Schubert could have picked a more reasonable ensemble for his ideas. Erwin Schulhoff 1894–1942 2223. Gruess, Hans. “Alexander Zemlinsky und die zweite Wiener Schule,” in Beiträge zur Musikwissenschaft, xxii (1990), 28–9+. Includes discussion of Erwin Schulhoff ’s String Quartet No. 1. Clara Wieck Schumann 1819–96 2224. Klassen, Janina. Clara Wieck-Schumann, die Virtuosin als Komponistin: Studien zu ihrem Werk, in Kieler Schriften zur Musikwissenschaft, No. 37. Kassel: Bärenreiter, 1990. ISBN 3-7618-0991-3. ML417.S4K52.1990. ix + 283 pages. Chapter 4 concerns the chamber music: Trio Op. 17 and Romances for violin and piano Op. 22. Klassen discusses not only form, motivic development, harmony, rhythm, and instrumentation, but also the aesthetics of the 2 pieces, their historical and social ambiences, and the manuscript autograph of the trio. The trio is compared to trios by Beethoven, Schubert, and Mendelssohn. 2225. Nemko, Deborah Gail. “Clara Schumann as Innovator and Collaborator: The Piano Trio in G Minor, Op. 17.” DMA dissertation. University of Arizona, 1997. 50 pages. DAI Vol. lviii (January 1998), p. 2456A. An historical background to Clara Schumann and her trio, which seems to have influenced the trio of her husband, Robert, composed a year later. 2226. Combs, Cortney Dawn. “An Historical and Analytical Discussion of Clara Schumann’s Piano Trio, Op. 17.” DMA dissertation. University of Texas at Austin, 2002. DAI, lxiii (June 2003), 4143A. xiii + 98 pages. Combs offers a study of Clara Schumann’s most important chamber work in comparison to the piano trios of her contemporaries Robert Schumann, Felix Mendelssohn, and Chopin and her predecessors Haydn, Mozart, and Beethoven. She gives historical information and a traditional analysis. 2227. Lee, So Young. “Clara Schumann’s Piano Trio Op. 17, First Movement: Sketch Study and the Shaping of a Musical Idea.” DMA dissertation. University of California, Santa Barbara, 2000. vii + 59 pages. This is a comparison of the manuscript sketch of the movement with the printed score, whereby Lee points out how antithetical aspects of

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the music ultimately synthesize into the whole finished work. Lee includes a review of the history of the piano trio genre. Robert Schumann 1810–56 For a catalogue of Schumann’s chamber music, see Kurt Hofmann and Siegmar Keil, Robert Schumann: thematisches Verzeichnis sämtlicher im Druck erschienenen musikalischen Werke mit Angabe des Jahres ihres Entstehens und Erscheinens, 5th enl. and rev. ed. (Hamburg: J. Schuberth, 1982) ML 134.S4A2.1982. ISBN 3-922074-02-2. There is a systematic list on page 147. 4th ed. 1868. An alphabetical list can be found in Michael Ochs, Schumann Index PT.1: an Alphabetical Index to Robert Schumann Werke, in MLA Index Series, No. 6 (Ann Arbor: Music Library Association, 1967), pages 9–14. ML 134.S4S4.v.1. For a non-technical introduction to Schumann’s chamber music, see John Daverio’s chapter in 215 and Joan Chissell’s essay in Alec Robertson, ed. Chamber Music 212. And also by Chissell: 2228. Chissell, Joan. “Chamber Music,” in Schumann, in The Master Musicians Series (London: J.M. Dent & Sons, 1948; 2nd ed. 1956; 3rd ed. 1967, reprinted 1971; 4th ed. 1977), 155-68. ML 410.S4C4.1977. ISBN 0-460-03170-8. Chissell supplies a survey of Schumann’s most important chamber music, with brief historical data and brief but cogent analysis of his unity of motive and form. Except for the 3 string quartets, all the chamber music includes piano, though not always as successfully as in the piano quintet. Chissell points to specific weaknesses in form, rhythm and style (Schumann was not a contrapuntalist). 2229. Tadday, Ulrich, ed. Schumann Handbuch. Stuttgart: Metzler/Kassel: Bärenreiter, 2006. ISBN 3476016714. xxii + 602 pages. This is a general reference work on all things to do with Robert Schumann. Chamber music is on pages 304–31. After defining chamber music, Tadday discusses Schumann’s interest in the genre from early in his life and the historic background to his use of cyclic sonata form, his string quartets, his piano quintet and quartet, his piano trios and “Phantasiestücke op. 88,” and the violin-piano sonatas. Then he gives a traditional analysis of all these works. He ends with a catalogue and a short bibliography. 2230. Edler, Arnfried. “Zur Kategorie des Erzählerischen in Schumanns Kammermusik,” in Die Kammermusik Clara und Robert Schumanns: musikhistorisches Symposium 24. Mai 2002 (Hannover: Hochschule für Musik und Theater Hannover, 2004), 90–106.

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Edler attempts to show how the motivic and rhythmic structure of Robert Schumann’s chamber music corresponds to the structure of early romantic novels. Schumann’s lifelong involvement in the literature of his time bears fruit in this more subtle relationship between the 2 arts. 2231. Dickinson, A.E.F. “The Chamber Music,” in Gerald Abraham, ed., Schumann: A Symposium (London: Oxford University Press, 1952), 138–75. ML 410.S4A6317. A few general remarks for the layperson, followed by an analysis of form, tonality and motives of each of the movements of the major chamber pieces. Seeks Schumann’s models. A lot of cogent if opinionated observations without any details. 2232. Gardner, John. “The Chamber Music,” in Alan Walker, ed., Robert Schumann: The Man and his Music (London: Barrie & Jenkins, 1972; reprint 1976), 200–40. ML 410.S4W26.1976. ISBN 0-214-66805-3. Gardner gives an analysis for the educated layperson of form, thematic treatment, rhythm, and other technical items in each of Schumann’s chamber pieces. He characterizes Schumann’s overall chamber style and notes the powerful influence he had in the chamber music of his 19th-century contemporaries and successors (more so than Beethoven!). 2233. Kohlhase, Hans. Die Kammermusik Robert Schumanns: stilistische Untersuchungen, in Hamburger Beiträge zur Musikwissenschaft, Band 19. Hamburg: Karl Dieter Wagner, 1979. MT 145.S39K6. ISBN 3-921-02962-7. 3 vols. I: xi + 249 pages; II: iv + 224 pages; III:121 pages + 9 facsimiles of autograph sketches. PhD dissertation. University of Hamburg, 1978. Kohlhase attempts to understand the chamber style of Schumann, to see if there is consistent growth, and to determine if there is any interruption of this style or its growth once Schumann became mentally ill. Precise analysis confronts some concepts that are imprecise, especially what is “poetic” ( = associative motivic citation and reminiscence), but Schumann himself placed a great deal more emphasis on the technique of composition than has hitherto been assumed. Kohlhase emphasizes analysis of form, especially cyclic forms, and the manuscripts (sketches, complete drafts, fragments, autographs, proofs) to show compositional processes. He considers historical documents (for example, written views and reminiscences of Clara, Brahms, and Joachim) as well as musical evidence (besides the manuscripts, he studies the printed versions and borrowings as arrangements or reminiscences of earlier material by Schumann or others such as Bach, Beethoven, and Mendelssohn).

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2234. Fuller-Maitland, John Alexander. Schumann’s Concerted Chamber Music, in The Musical Pilgrim. London: Humphrey Milford for Oxford University Press, 1929. MT 145.S29F8. 47 pages, 34 examples. A brief but comprehensive discussion of Schumann’s duets, trios, quartets, and quintet. Fuller-Maitland gives historical data and nontechnical analyses, arranged by genres. 2235. Appel, Bernahrd R., ed. “Neue Bahnen”: Robert Schumann und seine musikalischen Zeitgenossen: Berich über das 6. Internationale SchumannSymposion am 5. und 6. Juni 1997 im Rahmen des 6. Schumann-Festes, Düsseldorf, in Schumann Forschungen, vii, Robert-SchumannGesellschaft, ed. (Mainz: Schott, 2002, ISBN 3-795704294). This collection of essays includes, among others, Friedhelm Krummacher, “Schumann in Opposition: die Streichquartette op. 41 im gattungsgeschichtlichen Kontext” (pages 11–28); Ute Bär, “Robert Schumann und Ferdinand David” (pages 58–111); and Michale Struck, “Beziehungs-Probleme: zum Verhältnis der Komponisten Schumann and Brahms, dargestellet am Beispiel von Violinsonaten” (pages 294–327). 2236. Helms, Siegmund. “Der Melodiebau in der Kammermusik Robert Schumanns,” in Neue Zeitschrift für Musik, cxxxi (1970), 194–6. An interesting study of Schumann’s concept of melody, especially in his chamber music. Schumann sought a melody quite different from Italian ones, which are like bird calls. Melody must have feeling much more than understanding. Schumann used melodies with Romantic feeling even in the bigger works. It was important that listeners felt, rather than understood, the melodies. His melodies were restricted (syncopated) much more than driving; they were practically devoid of ornamentation. In chamber music, he was much more chromatic than in the Lied. Helms compares Schumann’s earlier melodies to his later ones and to those by Brahms. 2237. Katzenberger, Gunter. “Anmerkungen zur Bedeutung von Mittelstimmen-Instrumenten in Schumanns spaterer Kammermusik,” in Die Kammermusik Clara und Robert Schumanns: musikhistorisches Symposium – 24. Mai 2002. Hochschule für Musik und Theater Hannover (Hannover: Institut fur Musikpadagogische Forschung der Hochschule für Musik und Theater Hannover, 2004), 49–66. The instruments that play in the middle range—viola, clarinet, horn— were used in new and more intimate ways in Schumann’s chamber music in the 1850s. This phenomenon is a later manifestation of the intimacy in Schumann’s earlier keyboard music.

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2238. Roesner, Linda Correll. “Studies in Schumann Manuscripts: with Particular Reference to Sources Transmitting Instrumental Works in the Larger Forms.” PhD dissertation. New York University, 1973. UMI 74–13369. DAI xxxiv.12A, p. 7811. 2 vols. 604 pages. Roesner discusses, among other pieces, the string quartets Op. 41 in Chapter V. It is a scholarly study of the manuscripts, their shape, size, format, foliation, pagination, type of paper, bindings, layout, and writing media and implements. The sketches for Op. 41 are presented in Volume II “in complete diplomatic transcription, and accompanied by a critical apperatus.” This is apparently an expansion of her earlier article 2240. 2239. Kohlhase, Hans. “Die klanglichen und strukturellen Revisionen im Autograph der Streichquartette op. 41,” in Schumanns Werke: Text und Interpretation, eds, Akio Mayeda and Klaus Wolfgang Niemöller (Mainz: Schott, 1987), 53–76. Kohlhase considers the relative merits of preparing a modern scholarly edition of Op. 41 based on the autograph manuscripts compared with the first printed edition. This enables him to investigate the history of this quartet as it passed through different phases of conception. Schumann made changes of all sorts in sketches and autographs, with the first edition essentially capturing the final version as Schumann wanted it. This is an important musicological study for anyone preparing a modern edition of chamber music or for anyone wanting to know how authentic a given printed score is. 2240. Correll [Roesner], Linda E. “Structural Revisions in the String Quartets Opus 41 of Robert Schumann,” in Current Musicology, No. 7 (1968), 87–95. The author studies the sketches and fair copy of the 3 quartets Op. 41 (1842) as well as other supporting documents, and compares them to the printed edition. Thereby, she demonstrates Schumann’s preoccupation with large structural problems. She refutes, to some degree, the popular notion that Schumann was a spontaneous, improvisatory composer and not capable of extended works that required a lot of working out. 2241. Kohlhase, Hans. “Quellenuntersuchungen zu den Streichquartetten op. 41: über einen besonderen Akzenttypus bei Schumann,” in Schumann in Düsseldorf: Werke – Text – Interpretation: Bericht über das 3. Internationale Schumann-Symposion am 15. Und 16. Juni 1988 in Rahmen des 3. Schumann-Festes, Düsseldorf, ed., Bernhard R. Appel, in Schumann Forschungen, Band 3 (Mainz: Schott, 1993), 141–78.

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First, Kohlhase evaluates 8 original sources that serve as the basis for ascertaining Schumann’s intentions for Op. 41. Then, on the basis of the 3 most important sources, he decides how to interpret a particular type of accent found in them: the “swell accent.” This study was in preparation for the edition of Op. 41 that finally appeared in 3 Quartette für 2 Violinen, Viola und Violoncello (Mainz: Schott, 2006. ISBN 9790001140898), and is important for performers who wish to perform not only this work but also quartets by Beethoven (late quartets), Mendelssohn, and Brahms. For a study of Schumann’s use of chromaticism and modulation in his string quartets, see Gerhard Wilcke’s Tonalität und Modulation im Streichquartett Mendelssohns und Schumanns 1812. See also Thomas Synofzik’s essay in 264. 2242. Melkus, Eduard. “Eine vollständige 3. Violinsonate Schumanns,” in Neue Zeitschrift für Musik, cxxi (1960), 190–5. A major study of this sonata and its curious history. The slow and last movements were written in 1853 as part of a 4-movement work for Joachim by Schumann, Brahms, and Albert Dietrich. Later, Schumann added his own first and third movements. After Schumann’s death, Clara, Brahms, and Joachim felt it would bring disgrace to Schumann’s good name, so they suppressed it. This is a formal and thematic analysis. See also articles by Oliver Wray Neighbour, “Schumanns dritte Violinsonate,” in Neue Zeitschrift für Musik, cxvii (1956), 423– 425; Heinrich Düsterbehn, “Ein Beitrag zur Entstehung der FAEFreundschafts-Sonate,” in (Neue) Zeitschrift für Musik, ciii (1936), 284–286; Erich Valentin, “Die FAE-Sonate: das Dokument einer Freundschaft,” in (Neue) Zeitschrift für Musik, cii (1935), 1337–1340; and Joachim Herrmann, “Schumanns dritte Violinsonate,” in Musica, xii (1958), 226–227. 2243. Struck, Michael. “Sturmtauglich? Der Violinsonaten-Komponist Robert Schumann im Vergleich mit Johannes Brahms.” In Die Kammermusik Clara und Robert Schumanns: musikhistorisches Symposium – 24. Mai 2002. Hochschule für Musik und Theater Hannover (Hannover: Institut fur Musikpadagogische Forschung der Hochschule für Musik und Theater Hannover, 2004), 67–89. See 1819 for a comparison of Schumann’s and Mendelssohn’s piano trios. 2244. Boetticher, Wolfgang. “Das frühe Klavierquartett c-moll von Robert Schumann,” in Die Musikforschung, xxxi (1978), 465–7. Boetticher explains the origins of this early piano quartet and its conceptual transformation into a symphony as documented in Schumann’s

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diaries. This is a companion to an edition of the quartet that Boetticher published (Wilhelmshaven: 1978). 2245. Krummacher, Friedhelm. “Schwierigkeiten des ästhetischen Urteils über historische Musik: Anmerkungen zu Schumanns Klavierquartett op. 47,” in Heinrich Poss, ed., Festschrift Ernst Pepping zu seinem 70. Geburtstag am 12. September 1971 (Berlin: Merseburger, 1971), 247–68. ML 55.P47F5. ISBN 3-87537-003-1. Krummacher presents a comparison between negative 20th-century judgments of the piece and negative mid-19th-century judgments: the 20th-century ones are based on the emotional qualities of the piece and not on its structure or its historical position, while the mid-19thcentury ones were based on form, content, and theme in context of “modern” music of the time (part of an historical development). Krummacher gives an analysis of the music, in order to understand the 19th-century positions, with consideration of the limited success of anyone’s piano quartets in the first half of the 19th century and the differences in approach to structure by Schumann and Mendelssohn. For example, the 19th-century critic was judging themes on their ability to be developed, not their sweetness or sentimentality; monotony through repetitition was to be avoided. Should Schumann’s own statements on his aesthetics be the criteria by which to judge him? Clearly, he was as much concerned with structure as with the poetic character of his pieces, and his comments are not a system of aesthetics. The basis of music aesthetics is determined less from laws of nature than through historical development. There cannot be any absolute modes or dogmas by which to judge a given piece at all times, but each period has its own different criteria that we must understand. As we move further from the 19th century, the temptation to consider the works of the 19th century as having been written with the same aesthetics as our own is less valid and full of difficulties, just as the belief is false that the greater distance in time gives us objectivity. 2246. Rohringer, Stefan. “Zu Robert Schumanns Klavierquartett Es-Dur op. 47: Überlegungen zur Form der Exposition des Kopfsatzes,” in Die Kammermusik Clara und Robert Schumanns: Musikhistorisches Symposium – 24. Mai 2002. Hochschule für Musik und Theater Hannover (Hannover: Institut für Musikpadagogische Forschung der Hochschule für Musik und Theater Hannover, 2004) 9–21. 2247. Brown, Julie Hedges. “Higher Echoes of the Past in the Finale of Schumann’s 1842 Piano Quartet,” in Journal of the American Musicological Society, lvii (Fall 2004), 511–64. In contradiction to many standard opinions on Schumann’s chamber music of the 1840s, these works draw on the music of Beethoven,

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Schubert and Schumann’s own earlier style and show that he is consistent in forging his own approach to form. This is most evident in the finale of the Piano Quartet, which synthesizes rhapsody with sonata form (“readopts the parallel forms of his earlier works,”) and reflects Schumann’s moving into a pattern of married life. This is a brilliant study of Schumann’s approach to form and its interaction with his personal affairs. It is an outgrowth of Brown, “A Higher Echo of the Past: Schumann’s 1842 Chamber Music and the Rethinking of Classical Form.” PhD dissertation, Yale University, 2000. DAI, lxi (November 2000), p1669A. 90 pages. This treats the Op. 41 string quartets and the piano quintet as well as the piano quartet. 2248. Hollander, Hans. “Das Variationsprinzip in Schumanns Klavierquintett,” in Neue Zeitschrift für Musik, cxxiv (1963), 223–5. The continual variation principle, so popular later on, is already used by Schumann in some of his works. In variation movements, he is less interested in harmonic-melodic variation than in a thematic and structural metamorphosis. Such happens in the Piano Quartet with the first 4 notes (they reflect the happy stage after marriage with Clara), which recur—metamorphosed—in all 4 movements. Hollander provides a convincing analysis. 2249. Westrup, Jack A. “The Sketch for Schumann’s Piano Quintet Op. 44,” in Heinrich Hüschen and Dietz-Rüdiger Moser, eds, Convivium Musicorum: Festschrift Wolfgang Boetticher zum sechzigsten Geburtstag am 19. August, 1974 (Berlin: Merseburger, 1974), 367–71. ML 55.B6.1974. ISBN 3-87537-085-6. Westrup gives a discussion of the sketch, which was given to JeanJoseph-Bonaventure Laurens (1801–1891) in 1853 by Schumann and which is in the Bibliothèque d’Inguimbert in Carpentras, France. The sketch throws light on Schumann’s working methods and “includes the draft of a movement … not … in the finished work.” Westrup points out the most significant differences between the sketches and the final quintet version and disproves Niecks’s contention that Schumann completely rewrote trio 2 of the Scherzo after Mendelssohn disapproved. 2250. Simon, Eric. “Schumann’s Fantasy Pieces,” in Clarinet, No. 13 (Winter, 1953–4), 4–7. A brief discussion of the discrepancies between the published version (Breitkopf & Härtel, ed by Clara Schumann) of Op. 73 Fantasy Pieces and Schumann’s manuscript. 2251. Lester, Joel. “Reading and Misreading: Schumann’s Accompaniments to Bach’s Sonatas and Partitas for Solo Violin,” in Current Musicology, No.56 (1994), 24–53.

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A theoretical discussion of Schumann’s accompaniments to the Bach solo sonatas and partitas and how they changed the fundamental rhythmic and formal aspects of the originals. Schumann was thinking in 19th-century formal and rhythmic terms based on sonata form and large tonal sections, while Bach was thinking in terms of continual development. A Schenkerian approach would have the same problems as this author’s approach, since it imposes concepts on Bach’s music that were not his concern. What is not addressed, but what is of concern to the study of chamber music, is whether Schumann has transformed these solo, non-chamber pieces into chamber music. Wolfram Schurig b.1967 2252. Hoban, Wieland. “Verästelung und Verflüchtigung – Ensemblemusik von Wolfram Schurig bei Kairos,” in Musik & Ästhetik, x, No. 39 (July 2006), 102–8. A description of the first recording of 4 pieces by the Austrian Wolfram Schurig, 3 of which are perhaps more orchestral than chamber. Ultima Thule and Augenmass are scored for 18 instruments (divided into small chamber ensembles), Hoquetus is for violin and 14 instruments, and Gespinst (the only obvious chamber piece) is for 6 instruments and bass clarinet. Peter Sculthorpe b.1929 2253. Milton, Nicholas. “The String Quartets of Peter Sculthorpe: A Study in Stylistic Synthesis.” DMA dissertation. City University of New York, 2004. vii + 313 pages. A major biography of the Australian (Tasmanian) composer Sculthorpe and a history and analysis of his 15 string quartets. Sculthorpe uses the string quartet medium in other works as well. Since he is intimately connected to the folk music tradition of Australia, the analysis of his music takes into account various songs and concepts of the native peoples. Milton has interviewed the composer numerous times over several years. See also 475. Ruth Crawford Seeger 1901–53 2254. Gaume, Mary Matilda. “Ruth Crawford Seeger: Her Life and Works.” PhD dissertation. Indiana University, 1973. UMI 74–04672. DA xxxiv.9A, pp. 6021–2. xvii + 312 pages.

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A biography and thematic catalogue. It includes a separate chapter on the String Quartet (1931), as well as discussion of the Wind Quintet (1952), the 4 Diaphonic Suites (1930) for various small combinations of instruments, and several early chamber suites. Gaume analyzes rhythm, harmony, and motives. 2255. Perle, George. “Atonality and the Twelve-Note System in the United States,” in The Score, No. 27 (July, 1960), 51–66. Perle analyzes Crawford’s String Quartet (1931) on pages 58–60. He concentrates on the final movement that has suggestions of “a preconceived numerical plan.” 2256. Howard, Jeffrey. “The Lydian String Quartet: Interpretive Editing Decisions in the Second and Third Movements of the Ruth Crawford String Quartet 1931.” DMA dissertation. Indiana University, 2003. 2257. Hisama, Ellie M. “Question of Climax in Ruth Crawford’s String Quartet, Mvt. 3,” in Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies, Elizabeth West Marvin and Richard Hermann, eds, in Eastman Studies in Music, ii (Rochester [NY]: University of Rochester Press, 1995, ISBN 187882242X), 285–312. A feminist (formalist) critique of the climax in the third movement of Crawford’s quartet. It is not the biology of women that they are different from men in composition but the fact that men have excluded them from participation in composition. This movement conforms to traditional masculine forms but also moves in its own space. The score of the movement is printed in its entirety. 2258. Rao, Nancy Yunhwa. “Cowell’s Sliding Tone and the American Ultramodernist Tradition,” in American Music, xxiii (Fall 2005), 281–323. After a description of what Henry Cowell meant by sliding tones in tempo, dynamics and tone, Rao shows how Cowell used the technique in 3 of his own pieces and how Ruth Crawford used the dynamic slide in the third movement of her string quartet in 1931. 2259. Evans, Peter J. “New Timbral-Temporal Strategies in Hector Berlioz’s Harold in Italy and Ruth Crawford’s String Quartet 1931.” DMA dissertation. New England Conservatory of Music, 2005. MT4.B7 85 leaves. For another discussion of her string quartet, see Michael Coonrod’s dissertation 742. Mátyás Seiber 1905–60 2260. Weissmann, John S. “Die Streichquartette von Mátyás Seiber,” trl. Willi Reich, in Melos, xxii (1955), 344–7 and xxiii (1956), 38–41.

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Assesses and analyzes Seiber’s 3 string quartets. The 3-movement first quartet (1924) is under the influence of Kodály, but with some Bartókian dissonances. The second (1934–5) is a 12-tone piece that is at the end of his period of searching for his own style and at the beginning of that new style. The third (1951) is a complicated serial piece that is more contrapuntal than the second. Jean-Baptiste Senallié 1687–1730 2261. Kish, Anne L. “Jean Baptiste Senallie: His Life, His time, and His Music.” PhD dissertation. Bryn Maur College, 1964. Roger Sessions 1896–1985 2262. Olmstead, Andrea. Roger Sessions and his Music. Ann Arbor: UMI Research Press, c.1985. ML 410.S47304.1985. ISBN 0-8357-1633-3. xvii + 218 pages. A study of Sessions’s life and works based on 6 years of weekly tape interviews of the composer and on criticisms of students, colleagues, performers. Olmstead provides simple thematic, contrapuntal, and formal analyses of significant pieces, including the Duo for Violin + Piano, 2 string quartets, and the string quintet. She also includes the composer’s own statements on composition and publication of the music. 2263. Henderson, Ronald Duane. “Tonality in the Pre-Serial Instrumental Music of Roger Sessions.” PhD dissertation. Eastment School of Music, 1974. UMI 74–21528. DAI xxxv.4A, pp. 2319–20. 474 pages. A detailed tonal analysis of 7 instrumental works divided into 3 periods: 1923–1930 (no chamber music), 1935–40 (String Quartet in E minor), and 1942–50 (no chamber music). There are also less detailed discussions of a few other pieces of chamber music: Duo for Violin + Piano and String Quartet No. 2. Incorporates Sessions’s own comments and Hindemith’s theories of harmonic and melodic progression. 2264. Cone, Edward T. “Roger Sessions String Quartet,” in Modern Music, xviii (1941), 159–63. Cone analyzes tonality in Sessions’s quartet (1936) and demonstrates in the opening of the first movement the centrality of E minor with modulation to E-flat minor. He briefly points out a few other factors in the piece.

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Bright Sheng b.1955 2265. Lai, Ting-Ju. “A Perspective on Ethnic Synthesis in Twentieth Century Art Music with a Focus on an Analysis of String Quartet No. 3 by Bright Sheng.” PhD dissertation. University of California, Los Angeles, 2001, volume I. ISBN 9780493362755. 192 pages. Volume II is an original composition. A study of the synthesis of Chinese and Western styles of music in Sheng’s third quartet. To enhance the study, the works of Chen Yi and Tan Dun are considered as well. Western harmony, rhythm, pitch, and orchestration are analyzed as well as Chinese folk songs, vocal styles, and theories of modulation, modes, and structure. 2266. Liu, Jing. “Polytonality and Motive in Bright Sheng’s String Quartet No. 3 (1993).” MM thesis. University of Nebraska – Lincoln, 2000. James Sherard 1666–1738 2267. Tilmouth, Michael. “James Sherard: An English Amateur Composer,” in Music and Letters, xlvii (1966), 313–22. Biography of the amateur violinist who published 2 works: 12 trio sonatas Op. 1 (no date) and 12 trio sonatas Op. 2 (between 1706 and 1716). Tilmouth briefly characterizes the sonatas, which are based on Corelli’s. Seymour Shifrin 1926–79 For a review of his String Quartet No. 2, see David Lewin’s review of Arnold Elston’s quartet 1387. 2268. Doncaster, Sara. “Formal Process in Seymour Shifrin’s String Quartet #4.” PhD dissertation. Brandeis University, 2006. vii + 78 pages. The second half of the dissertation is an original composition. Uses Hegel’s thesis-antithesis-synthesis paradigm to analyze the 3 movements of Shifrin’s quartet. Dmitri Dmitrievitch Shostakovich 1906–75 For a catalogue of his chamber music, see Derek C. Hulme, Dmitri Shostakovich: Catalogue, Bibliography & Discography (Muir of Ord [Rossshire]: Kyle & Glen Music, 1982), 37–40. ML 134.S48H8.1982, and Hans Sikorski, Dmitri Shostakovich (Hamburg: Internationale Musikverlage Hans Sikorski, 2005). ISBN 3935196601. 226 pages. Among the biographies of Shostakovich, is Laurel E. Fay, Shostakovich: A Life (New York: Oxford University

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Press, 2000), ISBN 0195134389, 458 pages. This is an exhaustive biography of Shostakovich that gives information on the composition and first performances of the chamber music. 2269. Hulme, Derek C. Dmitri Shostakovich: A Catalogue, Bibliography, and Discography. 2nd ed. [see page 379]. Oxford: Clarendon Press, 1991. ISBN 0-19-816204-9. ML134.S485H8.1991. xiv + 479 pages. See also the review by Laurel E. Fay in NOTES, xlix (1992), 585–6. A detailed catalogue of Shostakovich’s total oeuvre, arranged by opus number. It includes form, dates of composition, publishing information (worldwide), arrangements, duration, recordings (which are numerous), and use in films or other media (quartet No. 8 was used in a film and in a ballet). It includes an excellent bibliography and index. This is an indispensable tool for anyone working with Shostakovich’s chamber music. An introduction to Shostakovich’s chamber music is: 2270. Bobrovskii, Viktor Petrovich. Kamernye Instrumental’ nye Ansambli D. Shostakovicha. Moscow: Sovetskia Compositor, 1961. MT 145. S45B6. 257 pages. In Russian. A study of all the chamber music then written. It contains numerous musical examples, facsimiles of music manuscripts, and photos of performers of the chamber music with the composer. Bobrovskii includes the violin + piano Sonata, string quartets Nos. 1–8, Quintet, and Trio. This is a technical analysis of Shostakovich’s harmonic and melodic language and his sequencing scales. Bobrovskii finds a strong classical influence in the chamber music. An excellent introduction to Shostakovich’s string quartets is the following: 2271. Barry, Malcolm. “Shostakovich’s Quartets,” in Music and Musicians, xxvii (February 1979), 28–30, 32, 34. In advance of a series of performances in London by the Fitzwilliam String Quartet of all 15 Shostakovich quartets, this was an essay on their history and on the relationship of this particular performing group to Shostakovich (they worked together during the last 3 years of the composer’s life). Barry considers the quartets as they fit into the composer’s total oeuvre (and the Soviet system) and as they fit into the history of 20th-century quartets the world over. Each quartet is discussed from these 2 standpoints. This article is written for the student and informed layperson. 2272. Roseberry, Eric. Ideology, Style, Content, and Thematic Process in the Symphonies, Cello Concertos, and String Quartets of Shostakovich.

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Cambridge: Cambridge University Press, 1992. 114 pages. Originally PhD dissertation. Bristol, 1982. DDM, p. 26. There is a review of this book in Music and Letters, lxxii (1991), 494–6. 2273. Golianek, Ryszard Daniel. “Dramaturgia kwartetow smyczkowych Dymitra Szostakowicza,” in Muzyka, Vol. xxxix (1994), 94–8. 2274. Bouscant, Liouba. Les quatuors à cordes de Chostakovitch: pour une esthétique du sujet. Paris: L’Harmattan, 2003. ISBN 2747557502. 227 pages. An analysis of the extra-musical meanings in the string quartets of Shostakovich, which are a result of the Soviet regime’s tight control over the composer’s life. Bouscant shows that Shostakovich blurs the lines between tragedy, discourse, and music. In his works, there is a dualism between form on the one hand and content or style that presents a drama on the other; this is then demonstrated in all the quartets. While there is a pessimism expressed throughout, there is also hope. Bouscant gives a thought-provoking essay that accepts the theory that Shostakovich wrote in code messages that were forbidden to be expressed publically in the Soviet Union. 2275. Tan, Ai-Sze. “Structure, Style and Thematic Process as Innovative Elements within an Overall Unity in Selected String Quartets of Dmitri Shostakovich.” BMus thesis. Griffith University, 2000. 2276. Reichardt, Sarah Jane. Composing the Modern Subject: Four String Quartets by Dmitri Shostakovich. Aldershot/Burlington: Ashgate, 2008. ISBN: 9780754658849. This volume contains several essays: Shostakovich and the modern subject; The end that is no end: cadences and closure in the sixth String Quartet, Op. 101 (1956); The space between: codas, death, and the seventh String Quartet, Op. 108 (1960); Musical hauntings: the ritual of conjuration in Shostakovich’s eighth String Quartet, Op. 110 (1960); The indivisible remainder: novelization in the ninth String Quartet, Op. 117 (1964). 2277. Groenke, K. “Komponieren in Geschichte und Gegenwart: Studien zu den ersten acht Streichquartetten von Dmitrij Sostakovic,” in Die Musikforschung, Vol. li (April–June 1998), 163–90. A study of Shostakovich’s first 8 string quartets. 2278. O’Loughlin, Niall. “Shostakovich’s String Quartets,” in Tempo, No. 87 (Winter, 1968–9), 9–16. An analysis of Shostakovich’s first 11 string quartets from the standpoint of unity of form.

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See also Ekkehard Ochs’s remarks on the quartets in 675, pages 455–70. 2279. Tammaro, Ferruccio. “I Quartetti di Sostakovic,” in Nuova Rivista Musicale Italiana, Vol. xxv (1991), 30–53. 2280. Munneke, Russell Edward. “A Comprehensive Performance Project in Viola Literature and a Stylistic Study of String Quartets 1–13 of Dmitri Shostakovich.” DMA dissertation. University of Iowa, 1977. UMI 77–21185. DAI xxxviii.4A, p. 1731. 276 pages. Munneke gives a description of each of the first 13 quartets, a stylistic comparison of the quartets with themselves and with other important works by Shostakovich, and some historical and biographical background. 2281. Grönke, Kadja. “Studien zu den ersten acht Streichquartetten von Dmitrj Sostakovic,” in Die Musikforschung, ii (1998), 163–90. Draws on Grönke’s “Studien zu den Streichquartetten 1 bis 8 von Dmitrij Sostakovic” (PhD dissertation. University of Kiel, 1993). Grönke finds that the keys of the first 6 quartets of Shostakovich form a tonal scheme (C, A, F, D, B-flat, G – all major) and the last 8 keys form another scheme (C minor/E-flat major, A-flat major/F minor, D-flat major/B-flat minor, F-sharp major/E-flat minor). Quartet 7 is special in that it separates the 2 groups, and quartet 8 is important in that it ushers in the late quartets while recognizing the earlier group. Grönke’s thesis then is that Shostakovich mixes the old and the new as a basic principle of this work. Grönke then concentrates on the eighth quartet, noting at the opening both the “baroque” fugue mixed with 20th-century chromaticism—again the old combined with the new. Motivic and formal analyses comprise much of the study. Grönke notes the similarity of the opening 4 notes to Beethoven’s Op. 131 and its spelling of DSCH—the composer’s name; this recalls also his 10th symphony. He speculates on the significance of all these structural phenomena to Shostakovich’s political and personal life. Then he considers the first 6 quartets and ends by recognizing the first 8 as a unit. 2282. Kotta, Kerri. “Motive and Voice Leading in Shostakovich’s First String Quartet, First Movement,” in A Composition as a Problem, iii: Proceedings of the 3rd International Conference on Music Theory, Tallinn, March 9–10, 2001, Mart Humal, ed. (Tallinn: Scripta Musicalia, Estonian Academy of Music, 2003, ISBN 9985789709), 158–163. A brief Schenkerian analysis of the first movement of Shostakovich’s first string quartet. 2283. Castro, David Ralph. “Sonata Form in the Music of Dmitri Shostakovich.” PhD dissertation. University of Oregon, 2005. ISBN 0542218372. 151 pages.

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A study of how Shostakovich treated sonata form in his first movements. Castro uses 5 compositions as examples, 1 of which is the String Quartet No. 2. The results of the study in this quartet are printed as “Harmonic, Melodic, and Referential Pitch Analysis: Sonata Form in the First Movement of Shostakovich’s String Quartet No. 2.” They can be found in On Methods of Music Theory and (Ethno-) musicology: from Interdisciplinary Research to Teaching. Nico Schüler, ed. Frankfurt am Main: Peter Lang, 2005. ISBN 0820477796, 157–170. 2284. Dyer, Paul Eugene. “Cyclic Techniques in the String Quartets of Dmitri Shostakovich.” PhD dissertation. Florida State University, 1977. DAI xxxviii.9A, p.5113. 328 pages. A study of string quartets Nos. 2–13 and the cyclic procedures in them that lead from multi-movement works to a single, unified movement (No. 13). The analysis of the cyclic elements includes cyclic themes and motives and in a few cases harmonies. 2285. Smith, Arthur Duane. “Recurring Motives and Themes as a Means to Unity in Selected String Quartets of Dmitri Shostakovich.” DMA dissertation. University of Oklahoma, 1976. UMI 76–24392. DAI xxxvii.5A, pp. 2487–8. 480 pages. Discusses Quartets Nos. 7 to 10 and notes the D-S-C-H motive of No. 8. 2286. Fanning, David. Shostakovich: String Quartet No. 8. Aldershot/ Burlington, VT: Ashgate, 2004. ISBN 0754606996. xiv + 185 pages. 2287. Graybill, Roger. “Formal and Expressive Intensification in Shostakovich’s String Quartet No. 8, Second Movement,” in Engaging Music: Essays in Music Analysis, Deborah J. Stein, ed. (New York: Oxford University Press, 2005, ISBN 0195170105), 191–201. The 5 movements of the eighth string quartet are interdependent thematically, and the first 4 go directly into the succeeding movement without pause. Nonetheless, the second movement has its own coherent structure, and Graybill offers a detailed analysis to show this. 2288. Samama, Leo. “Het Achtste Strijkkwartet van Dmitri Sjostakovitsj: de Klinkende Biografie,” in Mens en Melodie, xlviii (Mar 1993), 157–63. 2289. Keldysh, Yury. “An Autobiographical Quartet,” in Sovyetskaya Muzyka (1961), trl. by Alan Lumsden, in The Musical Times, cii (1961), 226–8. Keldysh sees in Shostakovich’s music both an attempt to glorify the Russian people and an introverted lyricism. The latter is Shostakovich’s way of meditating on the fate of humanity in the modern

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world. The Eighth String Quartet is based on both these views. The Eighth has strong links to earlier compositions (First and Tenth Symphonies, Piano Trio, and others). It is monothematic, built on his own name DSCH. Keldysh reads into it a program of the suffering of World War II; he criticizes Shostakovich’s rather mechanical repetitions of melodic fragments. 2290. Keller, Hans. “Shostakovich’s Twelfth Quartet,” in Tempo, No. 94 (Fall, 1970), 6–15. Keller attempts to understand Shostakovich’s seemingly banal, repetitive music by recognizing its debt to Schoenberg’s First Chamber Symphony. He loves and respects Shostakovich, and assails those whose hate shuts their ears to understanding. 2291. Fay, Laurel Elizabeth. “The Last Quartets of Dmitri Shostakovich: A Stylistic Investigation.” PhD dissertation. Cornell University, 1978. UMI 79–02266. DAI xxxix.7A, p. 3905. 158 pages. Analyzes quartets 12 to 15, which reveal Shostakovich’s sudden interest (1968–1975) in atonality, 12-tone rows, pointillism, melodic and spatial effects, and intervallic manipulation, all within a simple style. Fay deals with harmony, melody, rhythm, and so on in each quartet. The 4 last quartets are related to Shostakovich’s other compositions. 2292. Wildberger, Jacques. “Ausdruck lähmender Angst: über die Bedeutung von Zwölftonreihen in Spätwerken von Schostakowitsc,” in Neue Zeitschrift für Musik, Vol. cli (February 1990), 4–11. Includes discussion of Shostakovich’s String Quartet No. 13. 2293. Burke, Richard N. “Film, Narrative, and Shostakovich’s Last Quartet,” in The Musical Quarterly, lxxxiii (1999), 413–29. After a traditional analysis of the 15th quartet, Burke discusses the piece as a narrative presented like a movie, where the opening elegy is interrupted by flashbacks only to return at the very end. He shows that Shostakovich was well aware of cinemagraphic effects, and that this led him to special movie treatment in other pieces as well, including the fifth quartet. 2294. Cizmic, Maria. “Performing Pain: Music and Trauma in 1970s and 1980s Eastern Europe.” PhD dissertation. University of California, Los Angeles, 2004. xi + 263 pages. An exploration of how the trauma of living in a repressed society affects musical creation. To what extent is that pain present in Dmitri Shostakovich’s String Quartet No. 15 (1974) and other, non-chamber

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music works? Cizmic describes a play, The Noise of Time, that depicts Shostakovich’s life followed by a performance of the quartet by the Emerson Quartet; and using Volkov and Taruskin as her starting points, she discusses how Shostakovich expresses his situation. Hers is a narrative analysis, not a formalistic one. 2295. Maurice, Donald. “Schostakovich’s Swansong (References to Beethoven’s Moonlight Sonata in Shostakovich’s Sonata for Viola and Piano),” in Journal of the American Viola Society, xvi (Spring 2000), 13–20. Analysis of Shostakovich’s sonata Op. 147. 2296. McCreless, Patrick. “The Cycle of Structure and the Cycle of Meaning: the Piano Trio in E Minor, op. 67,” in Shostakovich Studies, David Fanning, ed. (New York/Cambridge: Cambridge University Press, 1995), 113–36. An analysis of Shostakovich’s Piano Trio based on both its sociohistorical context and its musical structure. Shostakovich wrote the piece in 1944 under the stress, first, of losing one of his closest friends and, second, of learning of the brutality of the Germans in murdering masses of Jews in concentration camps. At the same time, McCreless considers the nature of cyclic structure in the 19th century and in the music of Shostakovich in general and in this trio in particular. He provids an interesting study for both the layperson and the scholar. 2297. Maróthy, János. “Harmonic Disharmony: Shostakovich’s Quintet,” in Studia Musicologica, xix (1977), 325–48. Maróthy gives a lengthy discussion of Shostakovich’s quintet, his first significant chamber work (1940); only the sonata for violin + piano (1934) and the first string quartet (1938) predate it. The duality in his music (“super-Romantic subjectivity” versus “trivial objectivity”) is interpreted in socialist realist terms; these 2 poles are synthesized into a “new harmony of a world which has been surveyed and taken possession of, and through the bridge of which the particularity of the trivial ‘masslike’ can also rise into human height in a fuller sense of the term.” The piano quintet is “an island of harmony in the sea of disharmony”; the disharmony of duality resolves into harmony. 2298. Abdel-Aziz, Mahmud. Form und Gehalt in den Violoncellowerken von Dmitri Schostakowitsch, in Kölner Beiträge zur Musikforschung, Band 173. Regensburg: G. Bosse, 1992. ISBN 3-7649-2464-0. 780.92 S559.A135.1992. 166 pages. After a perfunctory biography of Shostakovitch and similar discussion of his entire chamber music output (pages 15–17), there follow a brief history of the violoncello and piano sonata Op. 40, a pictorial,

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dull description of the piece (pages 32–57), and a naive section entitled “Interpretation.” 2299. Shochman, G. “Piatdesiat Let i Sem Vetserov: Festival Muzyka D.D. Shostakovicha,” in Sovetskaia Muzyka (1982), No. 5, 79–86. In Russian. Description and review of a chamber music festival in honor of Shostakovich’s 75th birthday, with 7 concerts in all, performed by leading artists and groups Jean Sibelius 1865–1957 2300. Barnett, Michael. Sibelius. New Haven/London: Yale Univrsity Press, 2007. xvi + 445 pages. A major biography of Sibelius, who wrote a huge number of chamber works primarily for violin and piano or string quartet, from 1875 to 1929. There is little analysis of the music, but each piece is mentioned in context of Sibelius’s life. There is a systematic catalogue of Sibelius’s compositions at the end. 2301. Layton, Robert. “Chamber and Instrumental Music,” in Sibelius, in The Master Musicians Series (London: J.M. Dent & Sons, 1965; 2nd ed. 1978), 135–42. ML 410.S54L35.1978. ISBN 0460-03169-4 (hard cover); 0460-02193-1 (paperback). A brief survey of Sibelius’s chamber music, most of which falls into his very early years when, as a student, he wrote for home consumption. The only substantial chamber music afterwards is his string quartet entitled “Voces Intimae” (1909) and the “Sonatina” for violin + piano, Op. 80 (1915). Layton gives subjective descriptions with only passing reference to thematic recurrences. 2302. Baldassarre, Antonio. “Gattungsgeschichte als Problem: Das Streichquartett ‘Voces intimae’ d-Moll op. 56 (1909) von Jean Sibelius,” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 87–109. German critics seldom dealt with Sibelius’s works in general or his chamber music in particular because Sibelius seemed to them to be rehashing old music; they considered Sibelius to be the worst composer in the world. But they missed the point that he had something to say within the traditions handed down from the 19th century.

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Adorno and René Leibowitz knew this, but they were ignored. Sibelius wrote 4 string quartets and 4 additional pieces for string quartet. 2303. Krummacher, Friedhelm. “Intimität und Expansion: das Streichquartett op. 56 von Sibelius im Verhältnis zur Gattungstradition,” in Musik im Norden: Abhandlung zur skandinavischen und norddeutschen Musikgeschichte, eds Siegfried Oechsle, Heinrich W. Schwab, Bernd Sponheuer and Helmut Well (Kassel: Bärenreiter, 1996), 206–26. Sibelius wrote some youthful quartets that remained in manuscript, and his only mature chamber music work is his D minor Quartet “Voces intimae,” Op. 56 (1909). In his analysis, Krummacher considers this quartet in the context of many other Skandinavian quartets and in light of Adorno’s bitter attack on Sibelius in 1938, when he called Sibelius inferior to the composers continuing the great tradition of pure music (Schoenberg in particular). 2304. Krummacher, Friedhelm. “Voces intimae: Das Streichquartett op. 56 von Jean Sibelius und die Gattungstradition,” in Musica, xlv (1991), 360–7. Apparently the same article appeared in Finnish Music Quarterly, Nos. 3–4 (1990), 36–43. Deals with Sibelius’s Quartet Op. 56. 2305. Barrett, Gregory. “In Search of a Lost Chamber Work,” in Finnish Music Quarterly, i (2003), 40–1. A brief account by clarinetist Barrett of how he reconstructed a lost septet for flute, clarinet, and strings by Sibelius from an orchestral work En Saga (1892) that Sibelius derived from the septet. Faye-Ellen Silverman b.1947 2306. Macomber, B. “Faye-Ellen Silverman’s Chamber Music for Brass,” in The Brass Player (Spring 2003), 16. Christopher Simpson 1605–69 See Margaret Meredith’s dissertation “Christopher Simpson and the Consort of Viols” 525. Ezra Sims b.1928 2307. Thompson, Philip Niel. “Microtonal Tonality in Movement II of Ezra Sims’s Quintet for Clarinet and String Quartet, and Concerto for Percussison and Orchestra.” PhD dissertation. University of Pittsburgh, 2002. viii + 82 pages.

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Sims uses a 72-tone octave in an otherwise tonal system and bases chords on combination tones. First, Thompson provides an historical background for Sims’s development of his microtonal scale and then a Schenkerian analysis of the slow movement of Sims’s Quintet (1987). The second half of the dissertation is an analysis of a non-chamber piece. Bedrich Smetana 1824–84 For a non-technical introduction to Smetana’s chamber music, see John Clapham’s essay in Alec Robertson, ed. Chamber Music 212 and Derek Katz and Michael Beckerman’s chapter in Hefling’s Nineteenth-Century Chamber Music 215. Feldgun 500 places Smetana’s string quartets within the context of the history of the Czech quartet. 2308. Janecek, Karel. Duo a zivot Bedricha Smetany, Vol. 1, Smetanova Komorní hubda. Prague: Editio Supraphon, 1978. ML 410.S63J28. 466 pages. In Czech. The most complete study of Smetana’s chamber music. It is reviewed in NOTES, xli, No. 2 (December 1984), 270–2. 2309. Ottner, Carmen. “Autobiographie für vier Instrumente: zu den beiden Streichquartetten Bedrich Smetanas,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, xii (Vienna: Doblinger, 2006, ISBN: 3900695814), 92–107. After recounting Smetana’s sad life, Ottner analyzes the form of each of the 2 string quartets and ends with a consideration of the folk element in them. See also Carmen Ottner’s “Autobiographie für vier Instrumente: zu den beiden Streichquartetten Bedrich Smetanas” 232. 2310. Katz, Derek. “Smetana’s Second String Quartet: Voice of Madness or Triumph of Spirit?” in The Musical Quarterly, lxxxi (1997), 516–36. Katz proposes 3 possible explanations for the unusual structure of the second string quartet written when Smetana was deaf and nearly insane: that the composer’s shortness of memory and failing health caused him to write erratically; that the piece is autobiographical; or that the piece indeed is rationally related to his other late works and is part of a new style that he was developing. Katz comes to the conclusion that all 3 explanations have some validity. He analyzes parts of the quartet (especially the fourth movement) and compares

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the quartet to the first quartet and to a few other works (especially the late opera The Devil’s Wall). See also Janácˇ ek’s study of the final movement of Smetana’s Second String Quartet in 675, pages 143–5. 2311. Ottlová, Marta. “Smetana und Dvorák: Anhand der ersten Sätze aus den letzen Streichquartetten,” in Antonín Dvorák 1841–1991: Report of the International Musicological Congress, Dobérâi 17th-20th September 1991 (Prague: Ustav pro hudenâi véedu Akademie véed éCeskâe repubilky, 1994), 103–13. Ottlová is concerned with how the 2 Czech composers confront the mandatory sonata form in the first movements of each of their last string quartets. She presents a lengthy analysis of the Smetana piece, which conforms to the standard 19th-century sonata form; then, she contrasts that with the Dvorák piece, where the themes overlap, weight is put on the unexpected, motives are developed rather than themes, and the lyrical rather than dramatic character of the principal themes underscores the sonata form. 2312. Ginzburg, Lev. “On Performing the E-minor Quartet (“From My Life”) by Bedrich Smetana: An Experiment in Comparative Analysis,” in Vladimir Grigor’ev and Vladimir Natanson, eds, Muzykal’noe Ispolnitel’stvo, x (Moscow: Muzyka, 1979). RILM 79–1608. Ethel Mary Smyth 1858–1944 2313. Keays, Mary Lee. “Tooting Her Own Horn: Dame Ethel Smyth’s Trio for Violin, Horn and Piano.” DMA dissertation. University of California, Los Angeles, 2001. vi + 40 pages. Performance suggestions, and a study of the role of an important woman composer in European musical history. Daniel Speer 1636–1707 2314. Sirman, Mitchel Neil. “The Wind Sonatas in Daniel Speer’s MusicalischTürckischer Eulen-Spiegel.” PhD dissertation. University of Wisconsin, 1972. UM 72–29512. DA xxxiii.8A, p. 4462. 183 pages. Sirman gives a lengthy and definitive biography, a survey of Speer’s writings and music, and an analysis of 6 wind sonatas for cornets, trumpets, and trombones. He discusses the original scoring and suggests performance on modern instruments.

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Ludwig ( = Louis) Spohr 1784–1859 For a systematic list and detailed catalogue of the chamber music of Spohr, see Folker Göthel, Thematisch-bibliographi-sches Verzeichnis der Werke von Louis Spohr (Tutzing: Hans Schneider, 1981), 512–16. ML 134.S68G7.1981. ISBN 3-7952-0175-6. 2315. Brown, Clive. Louis Spohr: A Critical Biography. Cambridge/New York/ London: Cambridge University Press, 1984. ML 410.S7B8.1984. ISBN 0-521-23990-7. viii + 364 pages. An important account of the life, works, and chamber music activities of one of the most important chamber music personalities in history. Spohr performed chamber music publicly and privately nearly his entire life and composed an immense amount of chamber music of all kinds. The book discusses ad passim his chamber music activities and analyzes informally some of the music. Brown points out several features of Spohr’s work: the use of a string trio to accompany his virtuosic playing, rather than a piano (c.1800); his writing of duets for his pupils; his championship of Beethoven’s quartets despite his unhappiness with the later ones; his chamber music that included the harp, written for himself and his harpist wife; and Spohr’s violin technique: portamento and legato separate bows on rapid passage work. He provides an analysis and history of all Spohr’s 36 quartets. 2316. Peters, Helmut. Der Komponist, Geiger, Dirigent und Pädagoge Louis Spohr (1784–1859) mit einer Auswahlbibliographie zu Leben und Schaffen. Braunschweig: Stadtbibliothek Braunschweig, 1987. ML410. Sp64P46.1987. 103 pages. A short biography and study of Spohr and a brief discussion of his music. A page is given to outlining his chamber music, and the Nonet is analyzed simply on pages 35 to 42. 2317. Glenewinkel, Hans. Spohrs Kammermusik für Streichinstrumente: ein Beitrag zur Geschichte des Streichquartetts im xix. Jahrhundert. Nienburg (Weser): C.J. Georg Glenewinkel, [1912]. NL fV415.34. 144 pages. Inaugural dissertation. Ludwigs-Maximilians-University in Munich, 1912. For the time, an excellent history of the string quartet written by a pupil of Sandberger. It includes a brief biography of Spohr and characterizes the chamber works of Spohr’s contemporaries who are of the second rank but who nonetheless were important in their time: Krommer, Danzi, Andreas Romberg, Reicha, Pierre Rode (1774–1830), Hummel, Ries, Onslow, Johann Peter Pixis (1788–1874), Friedric

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Wilhelm Pixis (1786–1842), and Fesca (1789–1826). Glenewinkel gives an objective analysis of each of Spohr’s 36 string quartets and other chamber works (4 double quartets, 7 quintets, 1 sextet). Spohr’s melody is a fine line delineated by an extraordinary sense of beauty, where chromaticism has a signficiant Romantic role. Glenewinkel speculates that the decline in popularity of Spohr’s chamber music was because the quatuor brillante passed out of fashion. 2318. Berrett, Joshua. “Characteristic Conventions of Style in Selected Instrumental Works of Louis Spohr.” PhD dissertation. University of Michigan, 1974. UMI 75–633. DAI xxxv.7A, p. 4582. 252 pages. A lengthy biography and analysis of selected chamber music and violin concertos. Spohr’s style is characterized by “seamless legato and the prolongation of linear strands of string sound … chromatic appoggiaturas …” Spohr looks both forward and backwards in his compositions. 2319. Kahl, Willi. “Louis Spohr: Quintett für Klavier und Bläser, op. 52, Hrsg. v. Eugen Schmitz. Bärenreiter … (1950) … ,” in Die Musikforschung, v (1952), 283–5. A brief historical description of the writing of the piece and a review of the present edition. See also Hartmut Becker and Rainer Krempien, eds, Louis Spohr: Festschrift und Ausstellungskatalog zum 200. Geburtstag im Auftrage der Internationalen Louis Spohr Gesellschaft und der Staatsbibliothek Preussischer Kulturbesitz. Kassel: Georg Wenderoth, 1984. ML 55.S696L8.1984. ISBN 3-87013-019-9. 288 pages. This work includes 11 scholarly articles in German on various aspects of Spohr’s life and works. It discusses Spohr’s discography (chamber music is on pages 140–144), the 17 Spohr works (some chamber pieces) including the harp (written for his first wife), and so on. Carl Stamitz 1745–1801 For discussion of his Quartets for Bassoon + Violin + Viola + Cello, see Helen Hoff ’s dissertation 1317. Wilhelm Stenhammar 1871–1927 2320. Wallner, Bo. “Wilhelm Stenhammar och Kammarmusiken,” in Svensk Tidskrift för Musikforskning, xxxv (1953), 5–73. In Swedish, with brief English summary. Stenhammar was a rare figure in Swedish music c.1900 since in addition to other types of music he composed chamber music and

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especially 7 string quartets. Wallner gives an analysis of these quartets and his Sonata for violin + piano from 3 standpoints: thematic development, dependence on precursors (notably Beethoven and Brahms), and creation of a national Swedish style. An introspective musician, Stenhammar used the intimacy of chamber music to develop his thoughts about form. Written from 1894 to 1916, they show his growth from an “improvising Sturm-und-Drang style to a more pregnant, concentrated form.” Wallner includes an annotated list of all Stenhammar’s chamber music (which also includes a piano trio). 2321. Rotter, Signe. Studien zu den Streichquartetten von Wilhelm Stenhammar, in Kieler Schriften zur Musikwissenschaft, No. 47. Kassel: Bärenreiter, 2001. ISBN: 3761815719. xii + 439 pages. Originally PhD dissertation. Christian-Albrechts University, 2000. After a biography of Stenhammar, Rotter goes into detailed analysis of the 7 string quartets Stenhammar wrote between 1894 and 1916. She also considers how his quartets relate to traditional 19th-century quartets and those of Stenhammar’s contemporaries. 2322. Krummacher, Friedhelm. “Volks-und Kunstmusik um die Jahrhundertwende: zu Streichquartetten von Wilhelm Stenhammar,” in Musik im Norden: Abhandlung zur skandinavischen und norddeutschen Musikgeschichte, eds, Siegfried Oechsle, Heinrich W. Schwab, Bernd Sponheuer, and Helmut Well (Kassel: Bärenreiter, 1996), 144–59. Originally appeared in Festschrift für Erich Stockmann zum 70. Geburtstag, ed. Christoph-Hellmut Mahling. Continuing with the same dichotomy between ethnic or nationalistic elements and the pure string quartet genre in the string quartets of Berward and Gade, Krummacher shows that Wilhelm Stenhammar (1871–1927) wrote 7 string quartets, of which several show clear borrowings of Swedish folk songs. Thus, in the generation after Berwald and after examples by Bohemians and Russians, nationalism was acceptable in the string quartet without destroying or defacing the pure music nature of the genre. 2323. Wallner, Bo. “Wilhelm Stenhammars Straakkvartettskisser,” in Svensk Tidskrift för Musikforskning, xliii (1961), 355–73. This volume is also entitled Studier Tillägnade Carl-Allan Moberg 5 Juni 1961. In Swedish with a German summary. Wallner gives a study of the relatively large number of sketches for Stenhammar’s 7 string quartets, which show even more clearly how central these pieces were to his musical thought. For a comparison of Nielsen and Stenhammar’s quartets, see Krummacher 701.

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2324. Rotter-Broman, Signe. “Reflexion über die geschichtlichen Möglichkeiten des Komponierens: Der Kopfsatz des 6. Streichquartetts, op. 35 d-Moll von Wilhelm Stenhammar,” (1916), in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., Schriftenreihe der Othmar SchoeckGesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-79521114-X), 165–173. An analysis of the first movement of Stenhammar’s last quartet. The work was considered too complicated when it was premiered in 1918, but Rotter-Broman shows that it is a good combination of tradition and innovation. Nathaniel Stookey b.1970 2325. Reel, James. “Personality Plus,” in Strings, xx (January 2006), 28, 30–3. A brief biography of and an interview with Nathaniel Stookey that concerns his first quartet. Stookey, a San Franciscan, wrote the piece for the Lindsay Quartet. Part of the adagio movement is reproduced. Alessandro Stradella 1642–82 2326. McCrickard, Eleanor Fowler. “Alessandro Stradella’s Instrumental Music: A Critical Edition with Historical and Analytical Commentary.” PhD dissertation. University of North Carolina at Chapel Hill, 1971. UMI 72–10749. DAI xxxii.9A, p. 5272. 528 pages. A biography and description of Stradella’s milieu. McCrickard analyzes the form, rhythm, tonality, harmony, and counterpoint in 12 pieces for violin + continuo, 9 pieces for 2 violins + continuo, 2 pieces for violin + cello + continuo, and 3 concerti grossi by Stradella. She considers the performance problems caused by ambiguous language and symbols. Michele Stratico 1721–82 2327. Roeder, Michael T. “Sonatas, Concertos, and Symphonies of Michele Stratico.” PhD dissertation. University of California at Santa Barbara, 1971. UM 72–7466. DA xxxii.8A, pp. 4651–2. 2 vols. I: xiii + 188 pages; II: ii + 247 pages of music. Inter alia, Roeder discusses the 156 sonatas (written between the 1740s and 1750s) for violin + basso in a Berkeley, University of California,

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manuscript. They are each in 3 movements slow-fast-fast with the slower movements more unified motivicly than the faster ones. The middle movements are often the longest and are virtuosic. The last movements are lighter. This dissertation is of historic, but not intrinsic worth. Richard Strauss 1864–1949 For a catalogue of Strauss’s chamber music and, in many cases, where further information can be found, see Erich H. Mueller von Asow, Richard Strauss: thematisches Verzeichnis, 3 vols containing 29 installments in 17 bands (Vienna/Wiesbaden to 1959, then Munich: L. Doblinger, 1959–74), ML 134. S94M8. 1688 pages. There is a systematic list of chamber music on page 1537. A condensed works list with additions and corrections may be found in Franz Trenner, Richard Struass: Werkverzeichnis (Vienna: Doblinger, c.1985). ML 134.S94T7. 2328. Dubitzky, Franz. “Richard Strauss’ Kammermusik,” in Die Musik, xiii.3 (1914), 283–96. A list of Strauss’s chamber music, which occupied his attention almost exclusively during his youth (Opp. 2–9, 11, 13, 18 and some without opus number; includes works not regarded as chamber music in our definition). His string quartet was composed under the influence of Beethoven primarily, but also that of others including Meyerbeer. It showed already an original sense of tonal relationships. Strauss developed his own style gradually. He was following the advice of many—and later his own inclination—to study the classics before grappling with the present. For a general discussion of the chamber music of Richard Strauss and his relationship to Brahms, see 427. 2329. Fritz, Rebekka. “‘Graceful Chamber Music’ and ‘Music of the Passions’: The String Sextet in Richard Strauss’s ‘Capriccio’,” in Gemurmel unterhalb des Rauschens: Theodor W. Adorno über Richard Strauss (Vienna: Universal Edition, 2004), 210–23. Igor Feodorovitch Stravinsky 1882–1971 For a chronological and alphabetical catalogue of his works, see Clifford Caesar, Igor Stravinsky: A Complete Catalogue (San Francisco: San Francisco Press, 1982), ML 134.S96C3.1982, ISBN 0-911302-41-7, 66 pages. For a systematic index of chamber music, see Dominique-René de Lerma, Igor Fedoro-vitch Stravinsky, 1882–1971: A Practical Guide to Publications of his Music (Kent [OH]: Kent State University Press, 1974), 119–31. ML 134. S96D44. ISBN 0-87338-158-0.

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2330. Mason, Colin. “Strawinsky’s Contribution to Chamber Music,” in Tempo, No. 43 (Spring, 1957), 6–16. The chamber music comes mostly just after The Rite of Spring and in his late years. He rarely conforms to traditional forms and media: even his “string quartets” are not so titled and the Concertino is simply 1 long movement. Mason considers serialism and tonality versus atonality in the late works and Stravinsky’s acknowledgment of Webern, Schoenberg, and Bartók. 2331. Kielian-Gilbert, Marianne. “Relationships of Symmetrical Pitch-Class Sets and Stravinsky’s Metaphor of Polarity,” in Perspectives of New Music, xxi (1982–3), 209–40. Kielian-Gilbert takes Stravinsky’s comment in Poetics of Music that “All music being nothing but a succession of impulses and repose, it is easy to see that the drawing together and separation of poles of attraction in a way determine the respiration of music,” and follows Arthur Berger’s analysis of the meaning of polarity to trace “polarity” in Three Pieces for String Quartet, the Octet, and 2 non-chamber works (Symphony of Psalms, second movement, and the introduction to Rite of Spring). By polarity, Berger means “the denial of priority to a single pitch-class precisely for the purpose of note deflecting from the priority of a whole complexe sonore.” In other words, the “opposite ends” of a pole are closely related to each other, and in music these paired poles imply an equivalent interval structure of each end of the pole. Kielian-Gilbert analyzes the pitch-class sets of a polarity. 2332. Stahmer, Klaus Hinrich. “Der Klassik näher als dem Klassizismus: die Streichquartettkompositionen von Strawinsky,” in Hindemith-Jahrbuch, xii (1983), 104–15. Stahmer describes the 3 Pieces for String Quartet, dedicated to Ansermet, premiered by the Flonzaley Quartet in Chicago in 1915; the Concertino written for the Flonzaley Quartet in 1920; and the Double Canon for String Quartet of 1959. Both earlier works he later orchestrated—he was not thinking like other 20th-century string quartet composers who emphasized the intimacy and special color of the quartet. Stravinsky treats these works as trifles. He gives names to the 3 pieces after they have been orchestrated: Dance, Eccentric, and Canticle. The quartets are truly classic, rather than neo-classic. See also Simon Obert’s study of the 3 Pieces 2408. 2333. Kielian-Gilbert, Marianne. “Stravinsky’s Contrasts: Contradiction and Discontinuity in his Neoclassic Music,” in The Journal of Musicology, ix (1991), 448–80.

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Kielian-Gilbert discusses “constructive vs. deconstructive functions” in the Concertino for String Quartet (1920), on pages 452–61, and “linear restatement and spatial symmetry” in the Octet for Winds (1923), on pages 464–71. See also Paul Carlson’s discussion of the Duo Concertante 338. 2334. Stein, Erwin. “Strawinsky’s Septet (1953), for Clarinet, Horn, Bassoon, Piano, Violin, Viola, & Violoncello: an Analysis,” in Tempo, No. 31 (Spring, 1954), including a facsimile of a page of the manuscript. A technical, detailed analysis, with rows and emphasis on the counterpoint that is found to be much further developed than in earlier Stravinsky pieces. 2335. Schilling, Hans Ludwig. “Zur Instrumentation in Igor Strawinskys Spätwerk aufgezeigt an seinem ‘Septett 1953,’” in Archiv für Musikwissenschaft, xiii (1956), 181–96. Schilling sees 3 special techniques used by Stravinsky: unison or octaves between instruments proceeding in different rhythms; breaking up of melodies among instruments of different families; and dynamics glossed over so that all the instruments sound on the same dynamic level. He notes the special care Stravinsky takes with tone color. 2336. Schatz, Hilmar. “Igor Strawinsky: Septett,” in Melos, xxv (1958), 60–3. An important, somewhat technical analysis of this transitional work for listeners who, though enjoying the sound, might otherwise miss Stravinsky’s technical achievement. With movements 2 and 3 based on 8 tones, not 12 tones, it is the bridge between his neo-classic and serial periods. Schatz gives evidence of the row, also in the first movement where 5 notes are used. He says that a cyclic unity is achieved by the row. 2337. Craft, Robert. “The Chronology of the Octet,” in Perspectives of New Music, xxii (1983–4), 451–63. Craft traces the evolution of this Octet in the sketch books, starting in 1919 and finishing in 1922. He follows with comments from 1923, including a note from Koussevitzky’s secretary to Stravinsky concerning the importance of the piece. Eric Sweeney b.1948 2338. Farrell, Hazel. “Minimalism in Irish Contemporary Composition: Eric Sweeney’s String Quartet (1996),” in Proceedings of the 1st

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Annual Conference of the Society for Musicology in Ireland: NUI Maynooth, 2–3 May 2003, Barra Boydell, ed. (Maynooth: Society for Musicology in Ireland in Association with the Department of Music, NUI Maynooth, 2004), 143–50. Farrell shows how Sweeney reworks 3 Irish folk tunes in a minimalist fashion in the 4 movements of his string quartet. Karol Szymanowski 1882–1937 2339. Cadrin, Paul. “A Tonal Analysis of the First String Quartet, Opus 37, by Karol Szymanowski.” PhD dissertation. University of British Colombia, 1986. DAI Vol. xlviii (July 1987), 5A. A technical analysis including charts of voice leading. The quartet was composed in 1917. Giuseppe Tartini 1692–1770 2340. Brainard, Paul. “Die Violinsonaten Giuseppe Tartinis.” PhD dissertation. University of Göttingen, 1959. Published with some additions and corrections: Le Sonate per Violino di Giuseppe Tartini: Catalogo Tematico, in Le Opere di Giuseppe Tartini, Seziona Terza: Studi e Ricerche di Studiosi Moderni, Vol. 2. Milan: Studi e Ricerche dell’ Accademia Tartiniana di Padova, 1975. ML 134.T2B7. xl + 145 pages. A careful, scholarly catalogue of most of Tartini’s sonatas for violin and continuo, drawn from manuscript collections, individual manuscripts, and printed sources. The sonatas are listed according to tonality, with thematic incipits of each of the movements and tempo designations. Brainard lists the sources for each work, including concordances, the number of measures in each section of each movement (usually but not always binary), and significant variances among the concordances. He also recognizes the sources for borrowed material: opera arias, concertos, and so on. He gives dates, in most cases somewhat tentatively (as discussed in the introduction). He also lists isolated movements for violin + bass or violin alone. The sources are carefully studied in the introduction. This is a basic tool for any scholar, layperson or performer who wants the repertory of Tartini’s violin sonatas. Peter Ilyitch Tchaikovsky 1840–93 For a catalogue of Tchaikovsky’s chamber music, see B. Jurgenson, Catalogue Thématique des Oeuvres de P. Tschaikowsky (Moscow: P. Jurgenson, 1897;

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reprint London: H. Baron, 1965), 156. ML 134.C4I8.1965. In Russian and French. 2341. Findeisen, Nikolai Fedorovich. Kamarnaia Musyka Chaikovskoge. Moscow: Gosudarsive’oe Isdate’stve, 1930. MT 140.C5F5. 38 pages. In Russian. A moderately technical introduction to the chamber music of Tchaikovsky, presented in chronological order. Findeisen is concerned with form. 2342. Brown, David. Tchaikovsky, 4 vols. New York: W.W. Norton, 1978–1992. ISBN 0-393-07535-2. ML410.C4. Vol. 1: “The Early years, 1840–1874”; Vol. 2: “The Crisis Years, 1874–1878”; Vol. 3: “The Years of Wandering, 1878–1883”; Vol. 4: “The Final Years, 1885–1893”. The most recent major study of Tchaikovsky’s life and works. It includes historical data on the most important works of chamber music. Brown compares the quartets to other works by Tchaikovsky and especially those by Mozart and Schubert. Each volume has its own index of names and cited chamber works. 2343. Brown, David. Tchaikovsky: The Man and his Music. New York: Pegasus Books, 2007. ISBN: 978-19336-48309. xix + 460 pages. Brown intends this to be a layperson’s biography of Tchaikovsky. The chamber music is discussed historically and analytically ad passim. 2344. Moiseev, Grigorij A. “Strunnyj sekstet ‘Vospominanie o Florencii’ v kontekste pozdnego perioda tvorcestva P.I. Cajkovskogo,” in Muzykovedenie, iv (2006), 41–7. Moiseev links Tchaikovsky’s late sextet, “Souvenir of Florence,” with his opera “Pique Dame.” By examination of the composer’s manuscripts, sketches, and drafts, Moiseev explains how Tchaikovsky used bits of the opera not only in the string sextet but in other late works as well. 2345. Auerbakh, Lev Davydovich. Trio Chaikovskogo Pamiati Velikogo Khudozhnika. Moscow: Muzyka, 1977. MT 145.C43A9. In Russian. A serious analysis of the Piano Trio, with historical background. Auerbakh believes that this piece ends the N. Rubinstein phase of Tchaikovsky’s life (it is dedicated to Rubinstein in 1881, the year of the latter’s death). The composer basically hated the combination of piano and 1 or 2 strings (stated in a letter of 1880 to Madame Von Meck) but, to honor Rubinstein, he had to write a non-orchestral piece with a virtuoso piano part and more than just a solo one. He ultimately was satisfied with the piece, though he was worried it might be too orchestral. The analysis describes all the themes and

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formal aspects, including thematic developments and derivatives. Although there are only 2 ostensible movements, the variations at the end of movement 2 are so long as to constitute a third one. There are continual references to other works of Tchaikovsky. Georg Philipp Telemann 1681–1767 For a catalogue of Telemann’s chamber music, see Martin Ruhnke, Georg Philipp Telemann: thematisch-systematisches Verzeichnis seiner Werke, Band 1, instrumental music, supplement to Georg Philipp Telemann: musikalische Werke (Kassel/Basel/London: Bärenreiter, 1984), Band 1, 107–228. ML 134. T3R8.1984. ISBN 3-7618-0655-8. For a bibliography of studies of his chamber music, see Hermann Wettstein, Georg Philipp Telemann: bibliographischer Versuch zu seiner Leben und Werk 1681–1767, in Veröffentlichungen der Hamburger Telemann-Gesellschaft, Band. 3 (Hamburg: Karl Dieter Wagner, 1981), 35–37. ML 134.T3W5. ISBN 3-921-029-79-1. For an overall study of Telemann’s chamber music, see Günter Fleischhauer, “Zur instrumentalen Kammermusik Georg Philipp Telemanns,” in 675, pages 345–360. 2346. Dadelsen, Georg von. “Telemann und die sogenannte Barockmusik,” in Richard Baum and Wolfgang Rehm, eds, Musik und Verlag: Karl Vötterle zum 65. Geburtstag am 12. April 1968 (Kassel: Bärenreiter, 1968), 197–205. ML 55.V537M9. Dadelsen is concerned primarily with rehabilitating Baroque music other than Bach’s, and with correcting the outdated assumption that Telemann’s music is synonymous with the pejorative qualities of Baroque music and especially with amateur performances of it. A probing and provoking talk (originally), it aims to upset prejudiced misconceptions among educated laypersons but not among scholars. What is “originality,” for example? Monteverdi is original, but not for inventing new devices; originality is simply the manner of absorbing new and old devices into a personal style to express human affects. We tend to call all Baroque music the same, but Telemann (among others) has his own originality in effects in his concertos and chamber music. His music is more immediately appealing to performers. Dadelsen questions the attacks on Uraufführungspraxis, which has its merits even for those who do not practice it. This is especially important for Telemann, who wrote so idiomatically for different instruments—much more so than Bach. See Du Bois’s dissertation on Telemann’s recorder music 329; Finscher’s “Corelli und die ‘corellisierenden’ Sonaten Telemanns” 190; and Günter

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Fleischhauer’s “Bemerkungen zum ‘Telemannischen Geschmack’ in der Sonata a Cinque e-Moll,” in 213, pages 77–90. 2347. Funk, Floyd R. “The Trio Sonatas of Georg Philipp Telemann (1681–1767).” PhD dissertation. George Peabody College, 1954. DD, xii (1955), 245. 320 pages. James Tenney 1934–2006 2348. Winter, Michael. “On James Tenney’s ‘Arbor Vitae’ for String Quartet,” in The Music of James Tenney, Robert Hasegawa, ed. Abingdon: Routledge, 2007, in Contemporary Music Review, xxvii (February 2008), 131–50. Online ed.: ISSN 1477–2256. Tenney was a composer of computer music. His last composition was Arbor Vitae, a 13-minute piece for string quartet, finished on his death bed with the aid of Winter and premiered by the Bozzini Quartet in Los Angeles in 2006. The harmony is derived from the integer multiple of B-flat, and pitches are derived from harmonics of harmonics—thus the music branches out from the initial pitch and explains the title: Tree of Life. The entire book (issue) is an explanation of the work and thoughts of Tenney, and all the chapters are written for the specialist in computer music. Michael Tippett 1905–98 2349. Wright, Peter. “Decline or Renewal in Late Tippett? The Fifth String Quartet,” in Tippett Studies, ed. David Clarke (Cambridge: Cambridge University Press, 1999), 200–22. An in-depth analysis of Tippett’s Fifth String Quartet. This analysis of Tippett’s last quartet (1990–1) is made in light of severe criticism of the “language, structure and meaning” of his late works— his so-called “decline.” Wright considers the first 3 quartets and Beethoven’s influence; then he looks at the more “astringent” fourth quartet, and finally the 2-movement fifth. He deals with form, motives, harmony, and relationships to Tippett’s other works. He sees no decline. Thomas Tomkins 1572–1656 2350. Irving, John. “Consort Playing in Mid-17th-Century Worcester: Thomas Tompkins and the Bodleian Partbooks Mus. Sch. E.415– 18,” in Early Music, xii (1984), 337–44.

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Irving uses these partbook manuscripts for 5 string consorts as evidence that there were consort music performances in Worcester at the time. Both Tompkins and John Withy (“a noted viol player”) were members of this ensemble. The partbooks have annotations by the performers, which shows that they were used. Irving speculates on who the other performers were. He ends with the contents of the manuscript, which is almost entirely dances. Giuseppe Torelli 1658–1709 2351. Norton, Richard Edward. “The Chamber Music of Giuseppe Torelli.” PhD dissertation. Northwestern University, 1967. UM 68– 3207. DA xxviii.10A, p. 4202. xii + 171 pages + 55 pages of music. This is a study of his sonatas da chiesa and da camera written 1686–1698 under the influence of Giacomo Antonio Perti. Op. 2 is unique in Bologna for being written for violin + cello without continuo. The other sonatas range from violin + continuo to 2 violins + cello + continuo. Norton also considers the Concertos in Opp. 5 and 6. Joaquin Turina 1882–1949 2352. Sher, Daniel Paul. “A Structural and Stylistic Analysis and Performance of the Piano Trios of Joaquin Turina.” EdD dissertation. Columbia University Teachers College, 1980. DAI xli.4A, pp. 1276–7. 258 pages. A stylistic analysis of the 3 trios Op. 35 (1926), Op. 76 (1933), and Op. 91 (1936). The first is a blend of neo-classic elements and Spanish folk music and is influenced by Albeniz. The second is a more subtle blend of these 2 elements. Trio No. 3 continues the Spanish folk influence but avoids the neo-classicism of the first 2 trios. Ferdinando Gasparo Turrini (detto Bertoni) 1745–1829 2353. Conter, Fulvia. La Musica da Camera di Ferdinando Gasparo Turrini detto Bertoni. Brescia: Ateneo, 1974. ML 410.T96C7. 144 pages. The life, works, and significance of Turrini, a minor but interesting Italian pianist and composer. Because he went blind in 1773, he was incapable of studying new scores and, therefore, developed in his own expressive way. Conter lists his works, which are almost entirely keyboard music; but there is 1 collection of 6 sonatas for harpsichord or piano with violin accompaniment. The violin could be omitted and it would work as a solo keyboard sonata.

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Burnet Corwin Tuthill 1888–1982 For an analysis of his sonata for saxophone + piano, see Robert Sibbing’s dissertation 1312. Marco Uccellini 1603–80 2354. Pajerski, Fred Mitchell. “Marco Uccellini (1610–1680) and his Music.” PhD dissertation. New York University, 1979. DAI xl.11A, pp. 5643–4. 758 pages. A documented, scholarly biography of Uccellini, whose principal surviving works are violin sonatas. Pajerski compares them to contemporaneous works and conveys a portrait of a violinist’s life at the time. He includes musical examples representing different facets of Uccellini’s style, with some contemporary works for comparison. See also 1231. Bernard Van Dieren 1884–1936 2355. Riley, Patrick Robert. “The String Quartets of Bernard van Dieren.” PhD dissertation. University of Iowa, 1985. UMI 85–18869. 636 pages. 2356. Williams, L. Henderson. “‘Philandering Round’ Mr. Van Dieren’s Quartets,” in The Sackbut, xi (1931), 325–9. A highly subjective survey of van Dieren’s 6 string quartets (premier dates: 1912, 1917, 1919, 1923, 1931, and 1928 respectively). The first is dedicated to Paganini (“its aspect is that of a quadruple cadenza” based on some of Paganini’s caprices). Williams rates Nos. 3, 4, and 5 as better than any by Hindemith or Honegger. No. 4 is for 2 violins + viola + string bass; No. 5 was originally for violin + viola + cello + string bass, but was later arranged for a normal string quartet. The earlier quartets are very difficult and experimental. Johann Baptist Vanhal ( = Wanhal) 1739–1813 2357. Jones, David Wyn. “The String Quartets of Vanhal.” PhD dissertation. University of Wales, 1978. UMI 81–70007. DAI (Europe) xlii.2C, p. 217. 671 pages. A biographical and bibliographical account of the 74 possible (54 proven) string quartets of Vanhal. The authentic quartets are dated 1768–87 and are then analyzed formally and stylistically. More superficial than Haydn’s quartets, they are in 3 to 4 movements, the

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outer ones fast; they show harmonic and tonal coloring; and the influence of the concerto is obvious in the slow movements. 2358. Morrison, Nicholas. “Johann Wanhal’s Chamber Music for Clarinet,” in The Clarinet, xxvii (March 2000), 50–2, 54–5. A brief biography of Wanhal and a very brief description of his sonatas and trios including clarinet. Wanhal wrote for the amateur clarinetist. Edgard ( = Edgar) Varèse 1883–1965 2359. Ramsier, Paul. “An Analysis and Comparison of the Motivic Structure of Octandre and Intégrales, Two Instrumental Works by Edgard Varèse.” PhD dissertation. New York University, 1972. UMI 72–26609. DAI xxxiii.4A, p. 1772. 206 pages. Varèse uses either germ motives or development of motives throughout these 2 works. He develops the motives by rhythmic variation and fragmentation and rarely uses exact repetition. Ramsier provides a detailed analysis of the motives and how they are used. 2360. Tyra, Thomas Norman. “The Analysis of Three Twentieth-Century Compositions for Wind Ensemble.” PhD dissertation. University of Michigan, 1971. UM 71–23895. DA xxxii.3A, p. 1558. 223 pages. Stylistic analyses, formal analyses, and performance problems in Stravinsky’s Symphonies of Wind Instruments, Varèse’s Octandre, and Penderecki’s Pittsburgh Ouverture. Tyra provides some biographical information, but these are highly technical analyses for advanced students and professional theorists. Ralph Vaughan Williams 1872–1958 For a list of Vaughan Williams’s chamber music, see Michael Kennedy, A Catalogue of the Works of Ralph Vaughan Williams, rev. ed. (London: Oxford University Press, 1982), 311. ML 134.V3K39. ISBN 0-19-315452-8. Original edition, London: Oxford University Press, 1964. See also 276. 2361. Howes, Frank Stewart. “Chamber Music,” in The Music of Ralph Vaughan Williams (London/New York/Toronto: Oxford University, 1954), 211–26. ML 410 V3H6. Howes gives brief descriptions of the forms, melodies, and peculiarities of Vaughan Williams’s 2 string quartets, 1 string quintet (2 violas), “Household Music” and “Suite for Pipes” (a string quartet with optional horn and optional substitutions for the other parts, too). The quintet, dedicated to W.W. Cobbett, is in 4 movements

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without break and is cyclic. Howes gives details on its creation and first performance. Less attention is given to the other works: the “Household Music” is in 3 movements, each based on Welsh hymns, and the “Suite for Pipes” (for home-made bamboo pipes similar to recorders) is in 4 movements. The viola is favored in all his chamber music. Francesco Maria Veracini 1690–1768 2362. Hill, John Walter. The Life and Works of Francesco Maria Veracini, in Studies in Musicology, No. 3. Ann Arbor: UMI Research Press, 1979. ML 410.V39H5. ISBN 0-8357-1000-9. xii + 540 pages. PhD dissertation. Harvard University, 1974. UM 74–16720. Hill gives a detailed, thorough, documented biography of this important Italian violinist, based not only on printed sources but on manuscript ones as well (unlike previous biographies). He also provides detailed bibliographic and stylistic analyses of the sonatas. It is a very good study of violin sonata practice in the generation after Corelli. 2363. Clarke, Mary Gray. “The Violin Sonatas of F.M. Veracini: Some Aspects of Italian Late Baroque Instrumental Style Exemplified.” PhD dissertation. University of North Carolina, 1967. UMI 68–6728. DAI xxviii.11A, p. 4657. 601 pages. Veracini is a transitional figure from Baroque to Classical with both old-fashioned and progressive elements. Old-fashioned elements are passé time signatures, hemiola, minor modes, single-affect part forms, counterpoint, and continuous expansion of melodies. New features are the primacy of first beats, slower harmonic rhythm, and lighter texture. Clarke gives a discussion based on 3 sonata collections with both da chiesa and da camera elements. Giuseppe Verdi 1813–1901 For a list of editions of the string quartet from 1876 to 1958, see Cecil Hopkinson, A Bibliography of the Works of Giuseppe Verdi 1813–1901, Vol. I: Vocal and Instrumental Works (New York: Broude Brothers, 1973), 77–79; see also page 84. ML 134.V47H6.Vol.1. For a discussion and analysis of the quartet, see Brunn, Kammermusik 195, iii, 179–82. 2364. Budden, Julian. “Chamber Music,” in Verdi, in The Master Musicians (London/Melbourne: J.M. Dent & Sons, 1985), 310–13. ML 410.V4B9.1985. ISBN 0-460-03165-1. Brief analysis of the string quartet.

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2365. Davis, Peter G. “The Other Verdi,” in Opera News, lii (January 16, 1988), 36–8, 43. 2366. Speranza, Ennio. “Caratteri e forme di una ‘pianta fuori di Clima’: sul Quartetto per Archi di Verdi.” Studi Verdiani, xvii (2003), 110–65. In a letter from 1878, Verdi says “ … il Quartetto in Italia sia pianta fuori di clima” (the quartet in Italy is a plant out of its element). Speranza attempts to understand what Verdi meant in the letter by looking at his quartet and those of others of the 1880s. Heitor Villa-Lobos 1887–1959 For a catalogue of Villa-Lobos’s chamber music, see Villa-Lobos: sua Obra ([Brasil]: Museu Villa-Lobos, 1965 [1967]), 59–67 and 131–35. ML 134.V65V5. 2367. Farmer, Virginia. “An Analytical Study of the Seventeen String Quartets of Heitor Villa-Lobos.” DMA dissertation. University of Illinois, 1973. UMI 73–17533. DAI xxxiv.1A, p. 352. 135 pages, 76 examples. History and analysis of Villa-Lobos’s quartets. There was no viable tradition of string quartet writing in Brasil before him, so he created one. He avoids traditional forms and structures and utilizes many folk rhythms, especially in his middle quartets; he achieves coloristic effects through polychords as well as instrumental timbres. He writes either cantabile or driving melodies, and his quartets have a personal, distinct sound. 2368. Estrella, Arnaldo. Os Quartetos de Cordas de Villa-Lobos. Rio de Janeiro: MEC, Museu Villa-Lobos, 1970. MT 145.V54E8. 141 pages. Estrella provides an introduction and guide for the student to the 17 quartets, which fall into 4 groups: Nos. 1–4 (1915–17); 5 (1931); 6 (1938); and 7–17 (1942–57). He discusses essential features of each quartet movement. Chamber music is a third of the composer’s total output, and he was capable of working within the limited colors of the quartet (the orchestral works are much better known). He avoids sonata form and fugues but writes continual variations (the Quartet No. 1 is an exception), often atonal. Estrella considers the folk music influence, especially from the fifth quartet on. Villa-Lobos’s own ability at playing the cello manifests itself especially in Nos. 1 and 5. 2369. França, Eurico Nogueira. A Evoluçâo de Villa-Lobos na Música de Câmera. Rio de Janeiro: MEC/DAC-Museu Villa-Lobos, 1976. ML 410.V76F68. 97 pages. França provides an historical and stylistic analysis of Villa-Lobos’s chamber music other than string quartets, which includes duos and

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trios up to a nonet, for various combinations of bowed strings, piano, guitar, harp, celesta, and winds (including saxophone). 2370. Grice, Janet. “Popular Styles in Brazilian Chamber Music: Heitor VillaLobos’s Quinteto Em Forma de Choros and Oscar Lorenzo Fernândez’s Invenções Seresteiras,” in The Double Reed, xxvii (2004), 93–102. A description of Brazilian choros and folk rhythms and how they influenced the nationalist music of Brazilian composers Villa-Lobos and Lorenzo Fernândez (1897–1948). Grice, a bassoonist, picks chamber music that includes her instrument. 2371. Lee, Sun Jo. “A Study of Nationalistic Expression of the Choro in Heitor Villa-Lobos’s Chamber Works with Bassoon.” DMA dissertation. University of Cincinnati, 2005. DAI, lxvi (November 2005), p. 1552A. 98 pages. After explaining the choro, a type of urban popular music in Brazil that Villa-Lobos used in his chamber music with bassoon, Lee shows how Villa-Lobos let that music influence his melodies, harmonies, rhythms, and textures. Lee concentrates on 3 works: Noneto Choros 3, Quinteto em forma de Choros, and Bachianas Brasileiras No. 6. Giovanni Battista Viotti 1755–1824 For a catalogue of Viotti’s chamber music (string and flute quartets, trios for 2 violins + cello, string duets with some arrangements for winds, and solos with bass or piano accompaniment), see Chappel White, Giovanni Battista Viotti (1755–1824): A Thematic Catalogue of his Works, in Thematic Catalogues, No. 12. New York: Pendragon, 1985. ML 134.V67 A35.1985. ISBN 0-918728-43-6. xx + 175 pages. For a study of Viotti’s violin duets, see Riehl’s article 438. 2372. Fleischmann, Hugo Robert. “Giovanni Battista Viotti.” PhD dissertation. University of Vienna, 1911. 142 pages. This is a lengthy biography of Viotti divided into 3 periods: 1753–83 (early life in Italy), 1783–92 (Paris), and 1793–1824 (London, Hamburg, and elsewhere). It is followed by a discussion of each category of his works: violin concertos (pages 48–69), violin and keyboard sonatas (pages 70–7), violin duets (pages 78–88), string trios (pages 89–93), string quartets (pages 94–100), other violin works (pages 101–8), cello works (page 109), piano works (pages 110–17), and vocal works. Fleischmann considers Viotti’s significance as an artist, and concludes with a catalogue of his works and a collection of his letters. 2373. Fischer, Klaus. “G.B. Viotti und das Streichquartett des späten 18. Jahrhunderts,” in International Musicological Society: Congress

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Report XIV = Atti del xiv congresso della società internazionale di musicologia, [Bologna: 1987], iii (Turin: Edizioni, E.D.T. 1990), 753–67. Since there is practically nothing written about Viotti’s 18 authentic string quartets, Fischer introduces them briefly and places them in historical context. Most of the 12 quartets of Op. 1 (c.1786) and 3 (late 1780s) are in 2 movements; the rest are in 3 movements, which is typical of Parisian and Mannheimer quartets of the time. The last 3 quartets (c.1801) are in 4 movements with minuets and reflect the classical quartet as established by Haydn. Gasparo Visconti 1683–c.1713 2374. Monterosso, Raffaello. “Gasparo Visconti, Violinista Cremonese del Secolo xviii,” in Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich, Band 25, also entitled Festschrift für Erich Schenk (Graz/Vienna/Köln: Hermann Böhlaus Nachf., 1962), 378–88. ML 55.S324. This is a scholarly study of the life and works of Visconti, an amateur, aristocratic violinist, whose 2 surviving collections are 6 sonatas for violin + basso (Amsterdam: Roger/London: Walsh & Hare, 1703; 4 da camera and 2 da chiesa) and 6 concertos (Amsterdam: Le Cène, c.1728). Monterosso concentrates on the sonatas, with the inevitable comparison to Corelli’s Op. 5; he also notes the friendship between Visconti and Tartini. Giovanni Battista Vitali 1632–92 2375. Suess, John Gunther. “Giovanni Battista Vitali and the Sonata da chiesa.” PhD dissertation. Yale University, 1963. UM 69–20385. DA xxx.6, p. 2564. 267 pages + musical supplement. After an historical and biographical background, Suess provides an analysis and historical discussion of Vitali’s 3 sonata da chiesa collections. He shows their debt to Mauritio Cazzati, his teacher, who codified “the character of the three basic types of movements” and reduced the large number of sections of the canzona to the 4 or 5 movements of the sonata. Vitali’s own contributions, especially in Op. 9, are his variation techniques and a more unified style for all movements “through a common contrapuntal foundation without losing the individual character of each type of movement.”

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Tomaso Antonio Vitali 1663–after 1719 2376. Reich, Wolfgang. “Sein oder nicht sein? Nochmals zur ‘Chaconne von Vitali,’” in Die Musikforschung, xxiii (1970), 38–41. Reich questions the designation of Tomaso Vitali as author of the famous G-minor Chaconne and gives rather the title “Dresden Chaconne” after the location of the only manuscript copy. Antonio Vivaldi 1678–1741 For a catalogue of Vivaldi’s chamber music, see Peter Ryom, Répertoire des Oeuvres d’Antonio Vivaldi: les Compositions Instrumentales. Copenhagen: Engstrøm and Sødring, 1986. ML134.V7A33.1986. ISBN 87-87091-19-4. lxxiii + 726 pages. It is written in French, German, and English. Chamber music is found in categories A and B (pages 53 to 154): sources and a thematic catalogue. This book replaces Verzeichnis der Werke Antonio Vivaldis (RV): kleine Ausgabe (Leipzig: Deutscher Verlag für Musik, 1974), 21–33, and its supplement by Ryom, Ergänzungen und Berichtigungen zu dem Verzeichnis der Werke Antonio Vivaldis: kleine Ausgabe (Poitiers: Association Vivaldi de Poitiers, 1979), 36 pages. 2377. Rarig, Howard Raymond, Jr. “The Instrumental Sonatas of Antonio Vivaldi.” PhD dissertation. University of Michigan, 1958. LC Mic 58–7779. DA xix.6, p. 1406. 455 pages. This is a brief biography and bibliography, followed by detailed analyses of many solo, trio, and other sonatas by Vivaldi, which show a minimal debt to Corelli and much more Vivaldi’s own originality. Rarig points the way to Classical form, tonality, and motivic treatment. For an attempt to characterize the “76” known sonatas by Vivaldi, see William S. Newman’s “The Sonatas of Albinoni and Vivaldi” 766. 2378. Talbot, Michael. “The Instrumental Music: Sonatas,” in Vivaldi, in The Master Musicians Series (London/ Toronto/Melbourne: J.M. Dent & Sons, 1978), 124–37. ML 410.V82T34. ISBN 0-460-03164-3. A survey and discussion of the 91 sonatas by Vivaldi “authenticated” in Ryom’s Verzeichnis (1974) and Antonio Vivaldi: Table de Concordances des Oeuvres (Copenhagen: 1973), together with the Dresden quartet sonata. Total: 61 solo sonatas (with bass), 27 trio sonatas, 3 quartet sonatas. Talbot starts with the 12 Op. 1 Trio Sonatas (1705), which show a debt to Corelli, and continues with the rest of the trio sonatas, which show Vivaldi’s more mature style, often similar to the

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concertos with 3 movements, ritornello form, and variety of instruments. The solo sonatas start with Op. 2 (1709): 12 sonatas for violin + continuo under Corelli’s influence. The Op. 5 solo sonatas show a less contrapuntal bass; the next set is more lyrical. Eventually, by the 1740 collection, they are in 4 movements. Talbot rates the solo sonatas as Vivaldi’s best chamber works. Op. 13 “Il Pastor Fido” sonatas are not authentically Vivaldi; they are arrangements by Parisian publishers of the works of Vivaldi and other composers. The quartets in 2 movements (slow—fugue) are religious works. 2379. Fertonani, Cesare. “Antonio Vivaldi: le sonate a tre,” in Informazioni e studi Vivaldiana, xviii (1997), 5–36. A discussion and brief analysis of Vivaldi’s 27 trio sonatas for 2 instruments and basso continuo. Fertonani shows how Vivaldi’s achievements in the concerto influenced his later sonatas; his first sonatas (Op. 1), on the other hand, were heavily reliant on the works of his immediate Italian predecessors. Johann Christoph Vogel 1756–88 See Helen Hoff ’s dissertation 1317. Robert Volkmann 1815–83 2380. Brawley, Thomas Michael. “The Instrumental Works of Robert Volkmann (1815–1883).” PhD dissertation. Northwestern University, 1975. UM 75–29584. DAI xxxvi.7A, p. 4093. v + 297 pages. Brawley provides a comprehensive study of the life and works of this German-born, composer-teacher who spent most of his adult life in Budapest. Chapter 3 is devoted to an analysis of chamber music (piano trios, string quartets, violin-piano pieces). Brawley shows the influence of Hungarian music, as well as the influence of Beethoven, Mendelssohn, and Schumann. This is an important bibliography. For a general discussion of the chamber music of Volkmann and his relationship to Brahms, see 427. 2381. Krischke, Claudia. Untersuchungen zu den Streichquartetten von Robert Volkmann (1815–1883): ein Komponist zwischen Schumann und Brahms, in Europäische Hochschulschriften, Reihe XXXVI, Musikwissenschaft, Band 154. Frankfurt am Main: Peter Lang, 1996. MT145.V65K75.1996. ISBN 3-631-48940-4. 286 pages. Originally PhD dissertation. University of Bonn, 1994.

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Krischke explores the supposed gap (as expressed by Kunold and others) in string quartet writing in Germany between 1830 and 1880 and discovers that there is not so much of one. Besides those by Schumann, Mendelssohn, Spohr, and Ferdinand Ries, she notes quartets by many lesser composers such as Bernhard Molique, Franz Lachner, Ignaz Lachner, Ferdinand Böhme, Hermann Hirschbach, Karl Gottlieb Reissiger (1798–1859), and the young Max Bruch, among others (which are listed in the Anhang). To understand what these quartets are like, she takes one of these lesser composers—Robert Volkmann— and analyzes all 6 of his quartets (and an isolated quartet movement as well). She also includes a biography of Volkmann and reproductions of several autograph pages of quartets. 2382. Wong, Siu-chun Jenny. “Robert Volkmann’s Piano Trios, Op.3 (1842–1843) and Op.5 (1850): A Study of Sources and Style.” MPhil dissertation. University of Hong Kong, 2002. viii + 151 leaves. Georg Christoph Wagenseil 1715–77 For a catalogue of Wagenseil’s chamber music, see Helga Scholz-Michelitsch, Das Orchester-und Kammermusikwerk von Georg Christoph Wagenseil: thematischer Katalog, in Österreichische Akademie der Wissenschaft, Tabulae Musicae Austriacae, Band. 6 (Vienna: Hermann Böhlaus Nachf., 1972), 161–221. ML 134.WO8S43. ISBN 3-205-03175-X. 2383. Busch-Salmen, Gabriele. “Der italienische gusto in Georg Christoph Wagenseils Sonate D-Dur für Flauto traverso und Basso continuo (WV 513),” in Persönlichkeiten und Ensembles: Konferenzbericht der xv. Wissenschaftlichen Arbeitstagung Blankenburg/Harz 19. bis 21. Juni 1987, ed. Eitelfriedrich Thom, in Studien zur Aufführungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts, Heft 35 (Michaelstein/ Blankenburg: Kultur-und Forschungsstätte Michaelstein, 1988), 7–12. Among Wagenseil’s vast output, much of which has been printed, there are only 2 sonatas for transverse flute and continuo, both in manuscript. This probably means that they were written for private use at the Viennese court, where he had been court composer since 1738. Vienna did not follow the fashion of the day for the transverse flute. BuschSalmen concentrates on 1 sonata, dated 1765 and in the typical 3 movements Allegro-Adagio-Allegro, and shows how Italianate it is. Richard Wagner 1813–83 For a discussion of the Adagio for clarinet + string quintet assumed to be by Wagner, but in fact by Heinrich Joseph Baermann, see Ulrich Rau’s article 815.

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Johann Jakob Walther 1650–1717 2384. Krout, Karen June. “Performance Editions of Selected Works from Johann Jakob Walther’s Hortulus Chelicus with Historical and Editorial Notes.” PhD dissertation. Texas Tech University, 1982. DAI xliii.8A, pp. 2488–9. An edition of 4 works from the collection: 2 of these works are absolute music and 2 are program music. Of the 4 works, 2 are sonatas, the other 2 are a suite and a capriccio ( = passacaglia with 50 variations). They range in performance skills from easy to difficult. Krout gives a biography of Walther, a general discussion of the entire collection, and detailed analyses of the 4 works with performance suggestions. William Walton 1902–83 2385. Tierney, Neil. “Chamber Music,” in William Walton: His Life and Music (London: Robert Hale, 1984), 242–6. ML 410.W292T5. ISBN 0-7090-1784-7. A readable, subjective description of Walton’s 2 string quartets, piano quartet, violin-piano sonata, 2 other works for violin + piano, and solo cello pieces. Tierney provides some historical data on each. 2386. Murrill, Herbert. “Walton’s Violin Sonata,” in Music and Letters, xxxi (1950), 208–15. Approaches analysis from the standpoint of how Walton deals with “high tension.” 2387. Howes, Frank. “Pianoforte Quartet,” in The Music of William Walton, in The Musical Pilgrim, i (London: Oxford University Press, 1942, reprint 1965), 10–21. MT 92.W16H6.1965. A brief history and a detailed analysis of Walton’s only chamber piece (by 1942), written when he was 16: a youthful, romantic piano quartet. Howes gives an analysis of themes and tonalities, together with a discussion of its traditional forms (sonata, sonata-rondo, song, and scherzo). He points out an “authorized” change of the third movement by Walton that is not in the original score. David Ward-Steinman 1922–83 For a discussion of his Three Songs for clarinet + piano see Jennings’s dissertation 1991.

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Heinrich Joseph Wassermann 1791–1838 2388. Beer, Axel. Heinrich Joseph Wassermann (1791–1838): Lebensweg und Schaffen: ein Blick in das Musikleben des frühen 19. Jahrhunderts, in Schriften zur Musikwissenschaft aus Münster, Band 2. Hamburg/ Eisenach: Karl Dieter Wagner, 1991. ISBN 3-8897-9054-2. ML410. W297B43.1991. 268 pages. The definitive biography and discussion of the works of this minor German violinist and composer who was a pupil of Spohr. His chamber works include 4 duos for 2 violins, an “Introduktion und Variationen für Violine und Streichquartett über ein Originalthema,” a “Quatuor brillant,” a quartet for flute and string trio, and several potpourris of opera tunes for various combinations of instruments. Carl Maria von Weber 1786–1826 For a general introduction to Weber’s chamber music within the context of 19th-century European music, see Clive Brown’s chapter in Hefling 215. 2389. Sandner, Wolfgang. Die Klarinette bei Carl Maria von Weber, in Neue musikgeschichtliche Forschung, Band. 7. Wiesbaden: Breitkopf & Härtel, 1971. HML 5725.15.81. ISBN 3-7651-0058-7. 257 pages. “Die Behandlung der Klarinette bei C.M. von Weber.” PhD dissertation. University of Frankfurt. Sandner considers the use of the clarinet in all of Weber’s works, including operas, concertos and chamber music. He gives historical events leading to the composition, and analyzes motives and tonality, clarinet technique and expression in each piece. There are specific analyses of Variations for Clarinet and Piano, Op. 33; Clarinet Quintet, Op. 34 and Grand Duo Concertant for Clarinet and Piano, Op. 48. For discussion of a Theme and Variations for clarinet + string quartet, assumed to be by Weber, but in fact by Joseph Küffner, see Ulrich Rau’s article 815. 2390. Simon, Eric. “Weber’s Clarinet Compositions,” in Clarinet, i (Fall, 1950), 7–10. Simon comments on the efforts to determine Weber’s authentic or original version of his clarinet pieces by looking at the original autograph scores. He concentrates on the Concertino, but the basic question pertains to the chamber music as well. 2391. Bellison, Simeon. “Weber’s Variations,” in Clarinet, i (Spring, 1952), 5–11.

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A description of each variation of Weber’s work for clarinet + piano, Op. 33, and an account of Weber’s other clarinet pieces and their relationship to the clarinettists Carl and Heinrich Baermann. Anton von Webern 1883–1945 For a catalogue of the works of Webern, including chamber music, see Zoltan Roman, Anton von Webern: An Annotated Bibliography, in Detroit Studies in Music Bibliography, No. 48 (Detroit: Information Coordinators, 1983). ML 134.W39A6.1983. ISBN 0-89990-015-1. 219 pages. 2392. Mason, Colin. “Webern’s Later Chamber Music,” in Music and Letters, xxxviii (1957), 232–7. Mason postulates that Webern’s serialism is an outgrowth of canonic writing and analyzes briefly his works from Op. 15 on with emphasis on the String Trio Op. 20, Quartet Op. 22, Concerto Op. 24, and String Quartet Op. 28. 2393. Mullin, Carolyn Denise. “Global Coherence in the Selected Atonal Works of Anton Webern.” PhD dissertation. University of Oregon, 2005. ISBN 0542061422. xii + 236 pages. Mullin reviews the analyses by prominent theoreticians of Webern’s “Sechs Bagatellen” for string quartet (1911–13), the violoncello sonata (1914), and “Drei kleine Stucke” for violoncello and piano (1914). She considers harmonic structure, contour-space segments, pitch-interval successions, and rhythm as means for unifying each work (global coherence). 2394. Boughton, Rebecca Anne. “Structural Functions of String Techniques in Chamber Works of Anton Webern.” DMA dissertation. University of Cincinnati, 2002. DAI lxiii (November 2002), p.1616A. 98 pages. In his early atonal works—Five Movements for String Quartet Op. 5 and Six Bagatelles for String Quartet Op. 9—Webern used many string effects to clarify structure, such as pizzicato, con sordino, sul ponticello, tremolo, col legno, and harmonics. Once he was secure in his dodecaphonic atonality—the String Quartet Op. 28—he concentrated on harmony and melody. For a documentary study of Webern’s string quartets, see Ursula von Rauchhaupt’s Schoenberg, Berg, Webern: the String Quartets 274. For an analysis of Webern’s string quartets within their historical setting of the early 20th century, see Werner Pütz’s Studien zum Streichquartettschaffen 1607. 2395. Haugan, Edwin Lyle. “Anton von Webern’s String Quartet in A Minor (ca. 1907), M.121: A Reconstruction.” PhD dissertation.

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Louisiana State University, 1989. DAI Vol. li (August 1990), p. 337A. 221 pages. A study of the sketches of an incomplete string quartet by Webern and an attempt to finish the piece. 2396. Vander Weg, John Dean. “Symmetrical Pitch- and EquivalenceClass Set Structure in Anton Webern’s Opus 5.” PhD dissertation. University of Michigan, 1983. UMI 83–24302. DAI xliv.7A, p. 1969. 161 pages. A criticism and emendation of Allen Forte’s theory of sets in atonal music, with Webern’s piece serving as an example in which to apply them. Vander Weg shows “that the five pieces are an interrelated ‘set of pieces’ based on 5 symmetrical tetrachords, their subsets, and related embedding supersets.” 2397. Jensen, Eric Frederick. “Webern and Giovanni Segantini’s Trittico della natura,” in The Musical Times, Vol. cxxx (January 1989), 11–15. The influence of Webern’s Op. 5 quartet on the painting of Segantini. 2398. Persky, Stanley. “A Discussion of Compositional Choices in Webern’s Fünf Sätze für Streichquartett, Op. 5, First Movement,” in Current Musicology, No. 13 (1972), 68–74. A highly technical, theoretical analysis of the pitches in this pre-12-tone movement. Webern chose pitches largely from the opening few notes. 2399. Archibald, Bruce. “Some Thoughts on Symmetry in Early Webern: Op. 5, No. 2,” in Perspectives of New Music, x, No. 2, (1972), 159–63. Archibald finds 4 symmetrical chords in this movement (for example, a minor sixth on either side of the tritone E-flat—A), and seeks to determine if the listener can recognize symmetrical chords as destinations or origins of nearby near-symmetrical chords (parallel to the expectation and fulfillment of dissonance-to-consonance in tonal harmony). This is not an analysis of the movement, but a theoretical point using some aspects of Webern’s movement to demonstrate it. 2400. Schneider, David E. “Wagnerian Details in Webern’s Op. 5, No. 2.” In Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, László Vikárius and Vera Lampert, eds (Lanham (MD)/Toronto/Oxford: The Scarecrow Press, 2005, ISBN 0-8108-5297-7), 325–9. Schneider finds gestures in the Webern movement that strongly suggest gestures in the prelude to Wagner’s “Tristan und Isolde.” He

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speculates why Webern, in his very brief movement, would want to parody Wagner’s 5-hour opera. 2401. Lai, Eric Chiu Kong. “Transformational Structures in Webern’s Opus 5, No. 3,” in Indiana Theory Review, x, (1989), 21+. 2402. Kaplan, Richard Andrew. “Transpositionally Invariant Subsets: A New Set-Subcomplex,” in Integral, iv, (1990), 55–61. Concerns Webern’s Op. 5, No. 4. 2403. Pousseur, Henri. “Webern’s Organic Chromaticism,” in Anton Webern, in Die Reihe, ii (Vienna: Universal Edition, 1955), English trl. by Leo Black (Bryn Mawr: Theodore Presser, 1958), 51–60. ML 410.W33 A77. A highly technical discussion of Webern’s treatment of chromaticism as exemplified in several passages from 3 movements of his Bagatelles Op. 9 for String Quartet. 2404. Perry, Jeffrey. “A Study of Anton Webern’s Six Bagatelles for String Quartet, Op. 9 with Happenstances.” PhD dissertation. Princeton University, 1990. DAI Vol. li (October 1990), p. 1041A-2A. 211 pages. Perry considers Webern’s attempt here to abandon tonality and establish a new logic based on linear and contrapuntal techniques. 2405. Forte, Allen. “An Octatonic Essay by Webern: No. 1 of the Six Bagatelles for String Quartet, Op. 9,” in Music Theory Spectrum, xvi (1994), 171–95. 2406. Schweiger, Dominick. “Anton Weberns Sechs Bagatellen für Streichquartett op. 9: Annäherungen an eine poststrukturalistische Lesart,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, xii (Vienna: Doblinger, 2006, ISBN: 3900695814), 137–50. A comment by Carl Maria von Weber in 1818 that 4-part writing is the “bare” [das Nackende] in music has been replaced in 20th-century reprints as the “thinking” [das Denkende] in music; but both concepts present a dichotomy (or not) in regard to Webern’s Six Bagatelles (1911 and 1913). This quartet denies almost all the qualities of traditional tonal music, including the rhythms and forms associated with it and with 4-part writing. The logic (thinking) that modern man associates with listening to a string quartet in the past is replaced in this work by disorientation. Schweiger then discusses the cerebral analyses of the tones of the work by Henri Pousseur, Adorno, and Robert Barclay

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Brown and proposes another way to look at the piece: by the instrumentation. This allows for dissolution of the dichotomy between outer tonal structure and the inner listening by the audience. 2407. Sallmen, Mark. “Motives and Motivic Paths in Anton Webern’s Six Bagatelles for String Quartet, op. 9,” in Theory and Practice, xxviii (2003), 29–52. A motivic analysis of the Webern Bagatelles for string quartet. The Bagatelles are atonal but not serial, so the continual repetition of a row to give continuity and form to a piece is not there in this case. Instead, Sallmen shows that there is repetition of motives or pitch class sets through the Bagatelles to give continuity. This is a sophisticated theoretical study. 2408. Obert, Simon. “Zum Begriff Atonalität: Ein Vergleich von Anton Weberns ‘Sechs Bagatellen für Streichquartett’ op. 9 und Igor Stravinskijs ‘Trois pieces pour quatuor à cordes,’” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich, 19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 195–209. A comparison of 2 very short works for string quartet written between 1911 and 1914. Neither composer knew of the other at the time. Obert cautiously examines the extent to which either work is atonal. See also 744. 2409. Stein, Erwin. “Webern’s New Quartet,” in Tempo, No. 4 (July, 1939), 6–7. Reprint Millwood (NY): Kraus Reprint Co., 1974, 52–53. Stein provides an analysis for the music student of Webern’s String Quartet Op. 28 (1938), in which several different forms overlap. He discusses Webern’s use of a row in very simple, non-technical language for the layperson. 2410. Sourtzi, Maria. “O Webern analyei Webern: To kouarteto egchordon op. 28” (Webern Analyses Webern: The String Quartet Op. 28). Polyfonia, vi (Spring 2005), 88–106. In Greek. 2411. Kreyszig, Walter Kurt. “BACH-Motiv, Reihenkonstellation, Symmetrie und Variabilität in Anton von Weberns ‘Streichquartett’, op. 28 (1936–1938): Zur Anwendung des Prinzips der Fasslichkeit und des Zusammenhangs vor dem Hintergrund ternären Gattungsdenkens,” in Das Streichquartett in der ersten Hälfte des 20. Jahrhunderts: Bericht über das dritte Internationale Symposium Othmar Schoeck in Zürich,

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19. und 20. Oktober 2001, Beat A. Föllmi, ed., in Schriftenreihe der Othmar Schoeck-Gesellschaft, Heft 4 (Tutzing: Hans Schneider, 2004, ISBN 3-7952-1114-X), 211–246. Webern was not only concerned with atonality and dodecaphonicism, but also with the music of Bach. Thus the row used in Op. 28 builds on the “BACH” motive that J.S. Bach used in the last fugue of The Art of the Fugue. This is a detailed analysis. 2412. Eimert, Herbert. “Interval Proportions: String Quartet, 1st Movement,” in Anton Webern, in Die Reihe, ii (Vienna: Universal Edition, 1955), English trl. by Leo Black (Bryn Mawr: Theodore Presser, 1958), 93–9. ML 410.W33A77. A highly technical analysis of the row of the first movement of String Quartet Op. 28. 2413. Stockhausen, Karlheinz. “Structure and Experimental Time,” in Anton Webern, in Die Reihe, ii (Vienna: Universal Edition, 1955), English trl. by Leo Black (Bryn Mawr: Theodore Presser, 1958), 64–74. ML 410.W33A77. A highly technical analysis of a part of the second movement of Op. 28. Stockhausen is interested in “what organic connection [there is] between structure and experiential time” (the actual different lengths of time for the processes of alteration in the music and also our perception of the different lengths of time). In this example, even the actual appearance of equal note values is perceived with altered time. There is a structural division of the passage that follows from this. 2414. Novak, Jelena. Divlja analiza: Formalisticka, strukturalisticka i poststrukturalisticka razmatranja muzike (Wild analysis: Formalistic, structuralistic and poststructuralistic observation of music). Belgrad: Studentski Kulturni Centar, 2004. ISBN 8680957356. 173 pages. A group of 7 compositions from the 20th-century, stylistically different and belonging to different genres, is used to demonstrate 3 approaches to music analysis: formalistic, structuralistic, and poststructuralistic. The 7 compositions used to demonstrate the 3 kinds of analysis include Webern’s String Quartet Op. 28. 2415. Borup, Hasse. “Anton Webern’s String Quartet Op. 28: A Study of the Work in its Historical Context.” DMA dissertation. University of Maryland, College Park, 2001. DAI lxii (March 2002), p. 2920A. vii + 88 pages. Borup provides a discussion of the influence of Bach on Webern and of the historical events surrounding Webern in 1938 when he wrote

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Op. 28 (the rise of the Nazis and the Austrian Anschluss). A chapter is devoted to his relationship with Schoenberg. This dissertation includes a traditional analysis. For a discussion of Webern’s Four Pieces Op. 7, see Paul Carlson’s “An Historical Background and Stylistic Analysis of Three Twentieth Century Compositions for Violin and Piano” 338. 2416. O’Leary, Jane Strong. “Aspects of Structure in Webern’s Quartet, Op. 22.” PhD dissertation. Princeton University, 1978. UMI 78–23512. DAI xxxix.6A, pp. 3214–5. 98 pages. A study of Webern’s Quartet for violin + clarinet + saxophone + piano and its relationship to the scherzo from Beethoven’s piano sonata Op. 14, No. 2. O’Leary finds lots of similarities in harmony and technique. See also 217 for more discussion of Webern’s Op. 22 Quartet. 2417. Stein, Erwin. “Anton Webern,” in Neue Musikzeitung, xlix (1928), 517–19. Stein provides an analysis of Webern’s Trio for Violin + Viola + Cello, Op. 20, in which the row is shown as the source for variations built from the usual transformation of the row; yet the piece uses traditional classical rondo and sonata forms. 2418. Newlin, Dika. “Anton von Webern: Quintet for String Quartet and Piano,” in NOTES, x (1953), 674–5. An analysis of this youthful, tonal, 1-movement sonata-form chamber work. Newlin points to parallels in the early music of Berg and Schoenberg and to the influence of the latter and of Brahms, and shows where certain elements of this piece presage later works of Webern. 2419. Spinner, Leopold. “Analysis of a Period: Concerto for 9 Instruments, Op. 24, 2nd Movement,” in Anton Webern, in Die Reihe, ii (Vienna: Universal Edition, 1955), English trl. by Leo Black (Bryn Mawr: Theodore Presser, 1958), 46–50. ML 410.W33A77. A highly technical discussion of Webern’s treatment of motives and rows in the opening section of this “concerto” movement. Kurt Weill 1900–50 2420. Rathert, Wolfgang and Jürgen Selk. Chamber Music by Kurt Weill: Critical Report. New York: Kurt Weill Foundation for Music/Miami: European American Music, 2004. ISBN 0913574635. 92 pages.

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This volume, designed for the scholar, contains the detailed critical notes to the modern edition of Weill’s String Quartet Op. 8 and the Sonata for Violoncello and Piano. Some songs complete the volume. Until now, the original source of the sonata survived complete only in manuscript. Egon Wellesz 1885–1974 2421. Benser, Caroline Coker Cepin. “Egon Wellesz (1885–1974): Chronicle of a Twentieth-Century Musician.” PhD dissertation. University of Iowa, 1981. UMI 82–9964. DAI xlii.11A, p. 4637. 610 pages. Includes a chapter on Wellesz’s chamber music. Chou Wen-Chung b.1923 2422. Chang, Peter M. Chou Wen-Chung: The Life and Work of a Contemporary Chinese-Born American Composer. Lanham (Md): Scarecrow Press, 2006. ISBN: 0810852969. xiii + 241 p. Wen-Chung immigrated to the United States from China in 1946 and studied with Varèse. His compositions mix Chinese concepts with Western ones. He is not a prolific composer; but he has written a few chamber pieces with non-standard scoring, such as his Suite for harp and wind quintet (1951), Two Miniatures from T’ang Dynasty for mixed chamber ensemble (1957), Yu Ko for 9 players (1965), Windswept Peaks for violin + cello + clarinet +piano (1989–90), and 2 string quartets, Clouds (1996) and Stream (2003). Alec Wilder 1907–80 2423. Bowen, Glenn Hamel. “The Clarinet in the Chamber Music of Alec Wilder.” DMA dissertation. University of Rochester, 1968. iv + 218 pages. Bowen analyzes the form, harmony, melody, and rhythm of 6 chamber pieces by Wilder, including 3 woodwind quintets, a trio for clarinet + horn + piano, a clarinet sonata, and a solo clarinet suite. He notes Wilder’s brevity, contrapuntal skill, cyclic forms, tertial harmony, remote tonal centers, and jazz style for the clarinetist. Bowen also considers some performance problems. Ian Wilson b.1964 2424. Elliott, Robin. “Passion, Painting, Poetry, Pessimism: Extra-Musical Themes in the String Quartets of Ian Wilson,” in Irish Music in the

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Twentieth Century, in Irish Musical Studies, vii, Gareth Cox and Axel Klein, eds. (Dublin/Portland [OR]: Four Courts, 2003, ISBN 1851826475), 150–67. A discussion of the 5 string quartets by the contemporary Irish composer Ian Wilson, written from 1992 to 2000. The circumstances of their composition and first performances are given. Christian religious themes pervade the quartets, often from visual representations (as in Wilson’s second quartet based on 5 sculptures by Alberto Giacometti, and his third quartet based on a painting by Paul Klee), and Elliott discusses these themes in his analyses. Yet the 5 quartets are excellent works of pure music as well and can be appreciated without the extra-musical allusions. Wilson has written many other pieces of chamber music, including a piano trio, “The Seven Last Words.” Peter Winter 1754–1825 2425. Zeller, Gary Lee. “The Instrumental Chamber Music of Peter Winter (1754–1825).” PhD dissertation. Catholic University, 1977. UM 77– 15063. DA xxxviii.1A, p. 22. 361 pages. Describes all the chamber music by Winter, who worked in Mannheim and Munich. Zeller analyzes in depth the 6 string quartets (1798–1810), which are influenced by Haydn’s Op. 20 yet avoid imitation and use few motives for development. Harmony is more naive than other elements. Of the 6 quartets, 3 are in 3 movements, 1 is in 2 movements, and the remainder are in the usual 4 movements; sonata form movements are usually monothematic. Winter produced well-written music that was better than most minor masters. Joseph Wölfl 1773–1812 2426. Baum, Richard. Joseph Wölfl (1773–1812): Leben, Klavierwerke, Klavierkammermusik und Klavierkonzerte. Kassel: Bärenreiter, 1928. ML 410.W785B3. 90 pages. Inaugural dissertation. Ludig-Maximilian University in Munich, 1926. Baum gives a definitive account of this relatively minor, bravura pianist-composer, who was born in Michael Haydn’s house in Salzburg and who was a friend and pupil of Leopold Mozart. W.A. Mozart helped him obtain his first position in Warsaw, and later in Vienna he was highly regarded by Beethoven, to whom Wölfl dedicated his 3 Op. 6 piano sonatas. Only 5 pages deal with the chamber music: violin, cello or flute sonatas with a predominant piano part

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(Op. 14 is a potpourri of tunes from Haydn’s The Creation). After 1800, the chamber music is Hausmusik. This book provides historical information, but it is not analytical; it is easily read by the layperson. Hugo Wolf 1860–1903 2427. Aber, A. “Hugo Wolf ’s ‘Italian Serenade,’” in The Musical Times, lxxxii (1941), 56–8 and 138–9. The quartet was written over a period of time: it started as a quartet in 1887, was arranged for orchestra (not finished?) in 1893–4, and continued as a quartet to his death; the finished orchestral version is by Max Reger (Aber discusses this at length). Aber compares the orchestral and quartet versions. 2428. Jost, Peter. “A propos de la musique pour quatour à cordes de Hugo Wolf, vue par Max Reger,” in Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/Annuario svizzero di musicologia, xxiv: Centenaire Hugo Wolf (2004), 37–58. Reger was entrusted with editing the posthumous works of Wolf for publication, among which was the score of the early String Quartet in D minor. He remarked that the quartet was a youthful work that showed Wolf ’s lack of understanding of the medium. Jost tries to point out in the score exactly what Reger was referring to; whatever faults the quartet might have, however, Reger emphasized its vitality, with which Jost is in agreement. Ermanno Wolf-Ferrari 1876–1948 2429. Hamann, Peter. “Die frühe Kammermusik Ermanno Wolf-Ferraris.” Inaugural dissertation. University of Erlangen, 1975. DAI (Europe) xxxvii.1, p. 4. ML 410.W82H3. iii + 363 pages. After introductory chapters on musical history at the end of the 19th century and the works of Reger, Pfitzner, Schoenberg, and Rheinberger, Hamann gives a description of 5 of Wolf-Ferrari’s chamber pieces. He is always experimenting, but, though aware of his contemporaries, he remains tonal. Hamann gives a complete list of works that shows a number of chamber pieces later in his career, too. Stefan Wolpe 1902–72 2430. Hanninen, Doris A. “Association and the Emergence of Form in Two Works by Stefan Wolpe,” in The Open Space Magazine, vi (Fall 2004), 174–203.

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A detailed, highly technical, theoretical analysis of the opening few measures of 2 chamber pieces by Wolpe: Piece for Two Instrumental Units (1962, for flute, cello, and piano in unit 1 and oboe, violin, contrabass, and percussion in unit 2) and Piece in Two Parts (1961–2, for violin, clarinet, trumpet, cello, harp, and piano). Hanninen shows how these measures determine the forms to follow. This is written for the advanced theoretician. 2431. Morris, Robert. “Respiration in Stefan Wolpe’s Piece in Two Parts for Six Players,” in The Open Space Magazine, vi (Fall 2000), 154–73. A detailed theoretical analysis of the piece for violin, clarinet, trumpet, violoncello, harp, and piano. Morris shows that Wolpe continually presents opening and closing gestures that resemble inhaling and exhaling. Paul Wranitzky 1756–1808 2432. Krummacher, Friedhelm. “Paul Wranitzky bei der Arbeit: zum Autograph der Streichquartette op. 10,” in Festschrift Otto Biba zum 60. Geburtstag, Ingrid Fuchs, ed. (Tutzing: H. Schneider, 2006, ISBN 3795212146), 39–55. Krummacher scrutinizes the working manuscripts of 5 string quartets by Paul Wranitzky that have survived in the Archive of the Gesellschaft der Musikfreunde in Vienna and compares them to the published editions of 1790–91. Movements were omitted in the printed editions and all of the sixth quartet is missing in the manuscript. There are also notational differences, and some passages were crossed out in the manuscript and never reached the printed edition. Charles Wuorinen b.1938 2433. Kuchera-Morin, JoAnn. “Structure in Charles Wuorinen’s String Trio.” PhD dissertation. University of Rochester, Eastman School of Music, 1984. UMI 84–20072. DAI xlv.6A, p. 1568. 111 pages. Analysis of the trio (1967–8) “based on a set-theoretic approach, incorporating pitch-class structure with rhythm and texture in a 3dimensional overview. The use of different pitch, rhythmic and textural contours makes it possible to divide the work into twelve sections.” Kuchera-Morin finds an abundance of interrelationships in this highly unified piece.

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2434. Morris, Robert-D. “Pitch-Class Duplication in Serial Music: Partitions of the Double Aggregate,” in Perspectives of New Music, xli (Summer 2003), 96–121. More on Wuorinen’s String Trio. Yannis Xenakis b.1922 2435. Harley, James Ian. “The String Quartets of Iannis Xenakis,” in Tempo, No. 203 (January 1998), 2–10. For further discussions of his String Quartet St/4–1,080262 (1962) see Michael Coonrod’s dissertation 742 and another by Rosalie Sward 775. Isang Yun 1917–1995 2436. Howard, Keith, and Martin Spangenberg. “Perspectives on Isang Yun’s Second Clarinet Quintet (1994),” in Vom rechten Thon der Orgeln und anderer Instrumenten: Festschrift Christian Ahrens zum 60. Geburtstag, Birgit Abels, ed. (Bad Kostritz: Forschungs-und Gedenkstatte Heinrich-Schütz-Haus, 2003, ISBN 3980620859), 255–268. An analysis of the quintet for clarinet and string quartet by Yun, a Korean-born composer who spent most of his life in Germany. The authors consider how Yun’s biography affected the work and how performers should approach it. Especially important are his Buddhist beliefs and his acceptance of post-Schoenbergian atonalism. The piece is in 3 sections, and internal divisions of these sections often occur in multiples of 17 (the composer was born on September 17, 1917). Judith Lang Zaimont b.1945 2437. Cherlin, Michael. “Judith Lang Zaimont’s Chamber Music for Winds: a Quintet of Quintets,” in The Clarinet, xxviii (June 2001), 78–85. A brief description of 5 quintets by Zaimont, each with a different scoring: Sky Curtains (1984) for flute, clarinet, bassoon, viola, violoncello; Hidden Heritage (1987) for flute, clarinet, violoncello, electric piano, percussion; When Angels Speak (1987) for flute, oboe, clarinet, bassoon, French horn; Même (1994) for flute, clarinet, violin, 2 violoncellos; and … 3:4,5 … (1997) for oboe, clarinet, violin, viola, bass. Cherlin includes a brief biography of Zaimont, a useful bibliography, and publishing and performance details on the pieces.

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Francesco Zannetti 1737–88 2438. Unverricht, Hubert. “Francesco Zannettis Streichtrios,” in Siegfried Kross and Hans Schmidt, eds, Colloquium Amicorum: Joseph SchmidtGörg zum 70. Geburtstag (Bonn: Beethoven-Haus, 1967), 410–427. ML 55.S35C6. Unverricht undertakes here the first definitive, scholarly study of the string trios of Zannetti, an Italian who never left Italy and who therefore represents the Italian evolution of the string trio from the trio sonata. He lists in detail each of Zannetti’s 7 collections of 6 trios each and his lost trios as well. He attempts to date both published and manuscript trios, from c.1760 to 1782. Most are in 3 movements, fast-slow-fast, and only a few have minuets for the third movement (which contradicts Sandberger). Most trios are for 2 violins or 2 flutes + bass ( = cello), but Op. 2 is for violin + viola + cello. The first violin is more difficult to play in the earlier trios, and Zannetti uses a fugue-like technique in the fast movements; but he is not as prone to the concerto trios as are composers in foreign lands. Jan (Johann) Dismas Zelenká 1679–1745 2439. Sadie, Stanley. “18th-century Chamber,” in The Musical Times, civ (1963), 49. Sadie gives brief reviews of editions of sonatas by Corelli (Op. 5), Zelenká (Trio Sonata No. 3 in B-flat), and a number of others. He places Zelenká in perspective as an awkward, uninspired technician— despite what the editor says. 2440. Unverricht, Hubert. “Zu Schönbaums Ausgaben von Zelenkás Bläsersonaten,” in Die Musikforschung, xxii (1969), 340–3. Unverricht corrects Camillo Schönbaum (Hortus Musicus, No. 147); the autograph of Zelenká’s wind sonatas survives in Dresden, where he worked, and should have been consulted. Alexander von Zemlinsky 1872–1942 2441. Weber, Horst. Alexander Zemlinsky, in Österreichische Komponisten des xx. Jahrhunderts, Band 23. Vienna: Verlag Elisabeth Lafite, 1977. ISBN 3-215-02085-8. 141 pages. A biography and discussion of the principal chamber works, including the 4 string quartets and the clarinet trio. Weber analyzes form,

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thematic content, and relationships to Brahms and Schoenberg. He includes a list of Zemlinsky’s chamber music. 2442. Gorrell, Lorraine. Discordant Melody: Alexander Zemlinsky, His Songs, and the Second Viennese School, in Contributions to the Study of Music and Dance, No. 64. London/Westport (CT): Greenwood Press, 2002. xx + 299 pages. Although chamber music is not the main focus of this study, Gorrell does cite all Zemlinsky’s chamber pieces and places them in biographical context. 2443. Beaumont, Anthony. Zemlinksy. Ithaca (NY): Cornell University Press, 2000. 448 pages. An important biography of the Viennese composer Zemlinsky, who wrote 4 string quartets (and 2 movements of a fifth) and a few other pieces of chamber music. His interaction with his student Arnold Schoenberg and other major figures of the Second Austrian School is discussed at length, and his works are briefly analyzed. Zemlinsky’s works are listed chronologically at the end. Chamber music receives more focus here than in Gorrell’s book. 2444. Loll, Werner. “Zwischen Tradition und Avantgarde: die Kammermusik Alexander Zemlinskys.” PhD dissertation. University of Kiel, 1988. Published in Kieler Schriften zur Musikwissenschaft, Band 34. Kassel/New York: Bärenreiter, 1990. ISBN 3-7618-0989-1. MT140. L6.1990. 259 pages. Recognizing that Zemlinsky’s work is not only late Romantic and early Modern, but also part of an era that is valid by itself (an era that also includes Max Reger, Richard Strauss, Gustav Mahler, and Franz Schreker), Loll gives historical background to and analyzes in detail the 4 published string quartets (Opp. 4, 15, 19, and 25). En route, he also considers the early E-minor quartet and numerous other chamber works by Zemlinsky and compares his chamber music to that by Reger and Hugo Wolf. Loll is concerned with tonality, thematic development, texture and style, and consults not only printed editions but also manuscripts and sketches. This is a thorough, highly technical book of interest primarily to theorists. 2445. Oncley, Lawrence Alan. “The Published Works of Alexander Zemlinsky.” PhD dissertation. Indiana University, 1975. UMI 75–17061. DAI xxxvi.2A, p. 591. 499 pages. In the course of discussing Zemlinsky’s biography and his works, Oncley gives considerable attention to the 3 string quartets and 1 piano trio. The early works show a strong Brahms influence, while

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the later ones show parallels with the music of Schoenberg and Bartók. 2446. Fribbins, Peter. “Zemlinsky’s String Quartets: A Composer’s View,” in Zemlinsky Studies, Michael Frith, ed. (London: Middlesex University Press, 2007, ISBN: 9781904750185), 113–122. Zemlinsky was influenced by traditional Viennese rhythms in his first string quartet, yet he had his own approach that gives him a conservative style in the eyes of 20th-century modernists. His fourth string quartet, however, also based on Viennese models from Beethoven to Berg, serves as a precursor to (neoconservative) postmodernism. 2447. Harris, E. Scott. “Formal Archetypes, Phrase Rhythm, and Motivic Design in the String Quartets of Alexander Zemlinsky.” PhD dissertation. Indiana University, 1993. DAI Vol. liv (June1994), p. 4300A. 415 pages. Analysis of form, rhythm, and motives in Zemlinsky’s 4 string quartets. 2448. Riddick, Frank Cary. “Tonality and Motivic Association in Zemlinsky’s String Quartet No. 2, Op. 15.” PhD dissertation. University of Colorado at Boulder, 1996. DAI Vol. lvii (October 1996), p. 1381A. 182 pages. Riddick challenges the views of Harris and others: this is not a late19th-century work but a 20th-century piece with non-traditional aspects that defy Schenkerian analysis and other tradition-based theories. 2449. Hitzler, Erika. “Zemlinskys Zweites Streichquartett op. 15,” in Beiträge 2006: musikalische Gesprächskultur: das Streichquartett im habsburgischen Vielvölkerstaat: Symposion 25.–27. April 2002, Manfred Angerer, Carmen Ottner, and Eike Rathgeber, eds, in Beiträge der Österreichischen Gesellschaft für Musik, xii (Vienna: Doblinger, 2006, ISBN 3900695814), 46–61. Hitzler opens with a biographic sketch of Zemlinsky and a quick review of the 6 quartets. Then she gives a history and an exhaustive analysis of the 1-movement second quartet (1916). See also 232. 2450. Moortele, Steven Vande. “Form as a Context: Zemlinsky’s Second String Quartet and the Tradition of Two-Dimensional Sonata Form,” in Zemlinsky Studies, Michael Frith, ed. (London: Middlesex University Press, 2007, ISBN 9781904750185), 99–111. Initially, Moortele compares the form of Zemlinsky’s 1911 quartet with the forms of Schonberg’s first String Quartet Op. 7, First Chamber Symphony Op. 9, and the tone poem, Pelleas und Melisande Op.

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5. All of the Schonberg pieces predate Zemlinsky’s. Following this comparison, the context for comparison is expanded to include other 19th-century 1-movement works that combine the 1-movement sonata form with the 4-movement sonata cycle—what Moortele calls the 2-dimensional sonata form. See Manfred Angerer’s “Kammerspiele – Zemlinskys Quartette oder Versuch einer Darstellung des Uneigentlichen” in 217. 2451. Dromey, Christopher. “Zemlinsky’s Surface Structures: Maiblumen blühten überall and the String Sextet Genre,” in Zemlinsky Studies, Michael Frith, ed. (London: Middlesex University Press, 2007, ISBN: 9781904750185), 77–87. A brief description of Zemlinsky’s string sextet, which includes a soprano singing Maiblumen, a poem by Richard Dehmel. The soprano part is minor in relation to the strings. Dromey compares this work with Schoenberg’s Verklärte Nacht and with the string sextet genre of the time (Brahms, Dvorák, and Tchaikovsky). He differs from those who suggest that the sextet was a moribund genre, overwhelmed by the string quartet. Anton Zimmermann 1741–81 2452. Mudra, Darina. “Anton Zimmermann (1741–1781) und die europaische musikalische Klassik,” in Schriftenreihe der Slowakischen Akademie der Wissenschaften, No. 3 (Frankfurt am Main/New York: Peter Lang, 2006, ISBN 0820477745), 237. A concise thematic catalogue of the works of Zimmermann, a violinist who was Kapellmeister in Bratislava in the second half of the 18th century. Among his works are chamber pieces. Ellen Taaffe Zwilich b.1939 See 2777 for an analysis of a quintet by Zwillich.

IV Performance Practice of Chamber Music

GENERAL ADVICE ON PERFORMING CHAMBER MUSIC 2453. Fuller-Maitland, John Alexander. “Concerted Chamber Music,” in The Consort of Music: A Study of Interpretation and Ensemble (Oxford: Clarendon Press, 1915), 32–106. Reprint Freeport (New Jersey): Books for Libraries Press, [1973]. MT 75.F89.1973. Ensemble ( = consort) is “that kind of cooperation in music in which each performer bears some share of responsibility for the general effect, as well as for the correct execution of the notes set before him.” While good ensemble must come from experience in playing together, Fuller-Maitland hopes to speed the process by reminding the reader of the basics. He begins in a remarkably archean manner, by discussing the fact that there was no need for ensemble in pre-Haydn and post-Brahms chamber music. Briefly (incorrectly), he tries to interpret appoggiaturas of the 18th century and makes a few general remarks on good ensemble. Mixed ensembles are easier than homogeneous ensembles because the important melodies automatically stand out and, in any case, important melodies should always be made to stand out and the other parts recede to accompany them. Fuller-Maitland pays tribute to Joachim and cites the violinist’s flexibility in interpretation in a performance of a Brahms’s Hungarian Dance in D when the author performed it with Joachim. He concentrates on how to perform Beethoven’s Op. 47 violin + piano Sonata, Brahms’s Op. 76 violin + piano Sonata, Franck’s violin + piano Sonata, Schubert’s B-flat Trio, Mozart’s G minor Piano Quartet, 644

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Beethoven’s Op. 74 String Quartet, Schumann’s Piano Quintet, and Brahms’s Clarinet Quintet. He discusses articulation, balance, rhythmic distortions, piano pedaling, dynamics, ornaments (even when written out), tempo, character, fingering, portamento, intonation, and so on. The slight emphasis on chamber music with piano and on the piano part itself is no doubt due to the fact that the author was a pianist. The interpretations are dated but nonetheless valid and worthy of imitation and study by modern ensembles—if for no other reason than to understand how chamber music was interpreted by competent performers c.1900. This chapter is especially valid for its comments on Brahms and Franck. Most remarks are very specific about a specific group of notes. 2454. Fuller-Maitland, John Alexander. “Ensemble,” in The Musical Quarterly, i (1915), 83–92. An intelligent discussion of the concept “ensemble” primarily in chamber music. Good ensemble requires of its participants technical accomplishment, stylistic insight, and rapport with the other players. 2455. Celentano, John P. “Chamber Music: Challenge and Opportunity,” in Music Educators Journal, lxxx (1966), No. 2, 103–7. A positive assessment, by an important performer of chamber music, of the burgeoning of amateur chamber musicians and ensembles in America and the need for teachers and performing musicians to influence and direct them. There are many useful suggestions for teachers to prepare chamber music, including: 1) teach the mastery of essentials in mechanics; 2) coach to coordinate correct mechanical means with musical ends; 3) inspire by playing examples; and 4) criticize musical intentions and realizations, and limit the amateurs to the possible. 2456. Busch, Adolph. “The Art of Ensemble Playing,” in Etude, lvi (1938), 499–500. This article is a call for all string players to play chamber music, first of all for the fun of it, but also because it is excellent drill. An ensemble requires congenial people who can work together. Ensemble playing teaches musicianship—“to strive to perfect a musical conception of the work as a whole, and then to translate those inner thought values into tonal expression.” When 2 or more players discuss and share such thought values, this helps to clarify the thoughts. Busch also stresses the need to understand the notation and expression marks as the composer meant them—piano meant something different for Beethoven, for example, from what it means for us. The music must be studied away from the instrument first. String quartets

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are the best type of ensemble for players new to ensemble music. The 2 violinists “must be of absolute equality” technically and musically. 2457. Wyatt, Theo. “The Technique of Consort Playing,” in Recorder and Music vi (1980), 288–292. Designed for teachers and amateur players. Wyatt suggests how to read music while playing so as not to forget the other players but also not to lose one’s own place. He provides exercises. He considers the difficulties of rests, the importance of bar lines, and the recognition of cadences. He defines a good ensemble and pleads for good intonation. 2458. Ball, Arthur L. “Ensemble Playing,” in The Strad, xli (1930), 233–4. Here is advice to good but inexperienced chamber ensemble players: don’t speed or drag, keep the tempo when changing rhythmic figures, observe rests carefully as if they are notes, do not change tempos during crescendo or decrescendo, give short notes their full value in slow tempos, keep the rhythm even in each part when there is 2 against 3 or any other polyrhythm, balance the tone of the ensemble to the ensemble and allow other members to come forth when they are more important, know the other players’ parts, and sense the feeling of the work. 2459. Türcke, Berthold. “Rudolf Kolisch: zur Theorie der Aufführung: ein Gespräch,” in Musik-Konzepte, xxi–xxx (1983). ISBN 3-88377-133-3. A lengthy interview with Kolisch shortly before his death in 1978, in which the violinist states that the musical score is the music, not the performance of it. He speaks of expression, the character of a piece, true reproduction, vibrato, glissando, dynamics, intonation, articulation, and other matters. Most examples are taken from chamber music. Türcke includes Kolisch’s lecture “Religion der Streicher” (1972), an essay on Webern from 274, a biography of Kolisch, and a useful bibliography [see page 449]. 2460. Hauser, Emil. Interpretation of Music for Ensemble. New York: author, 1952. MT 728.H28. 31 pages + 2 pages of music. “A working draft of a complete manual” (still in preparation?) for string players. It is presented in outline and, although it covers material any good string chamber player knows, it is not presented in a way that anyone but a good string player would understand. Most of the book is devoted to phrasing and dynamics and to signs that indicate all the subtleties of phrasing and dynamics. Phrasing is related to language in a superficial way. Much of the content appears to be preliminary notes that should not have been published. See also Campanha 11.

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2461. Ledbetter, Lynn Frances. “A Compendium of Chamber Music Excerpts (1750–1890) Selected and Organized Pedagogically for the Violin According to Technical Requirements.” DMA dissertation. University of Texas at Austin, 1984. UMI 85–13176. DAI xlv.4A, p.833. This dissertation presents more material than other pedagogical studies of chamber music, although the bibliography clearly shows the author’s ignorance of other such studies (for example, 2491–2493, 2497, 2499–2501, 1029, and so on). It is a unique tract for student violinists who need to develop violinistic techniques for playing chamber music. Ledbetter systematically presents bowing, left hand, and “special” techniques, in every case giving examples from the chamber music repertory (usually by famous composers). Unfortunately, the musical examples are printed in such small type that they are nearly useless. 2462. Ernst, Roy E. Chamber Music in Our Schools: An Overview & Recommendations. New York: Chamber Music America, 1990. MT728.E76.1990. ii +33 pages. A report by Chamber Music America on how chamber music “is finding a place in primary and secondary music education” in America. It is based on a 1986 survey taken among a small number of “well-known” music educators in public and private schools in 22 states and the District of Columbia. Some of these educators are listed with addresses and phone numbers so that they may be consulted. Subjects covered include “the Case for Chamber Music” (“Small ensemble playing helps our students to become critical thinkers and develop their creative skills at an early age”), coaching, structure (requirements and grading), scheduling, performance venues, outside resources, and recommendations. 2463. Celentano, John P. “Master Class: Developing Musicianship through Ensemble Mechanics,” in American String Teacher, l (May 2000), 29–31. 2464. Rutkowski, Joseph. “Starting a High School Chamber Music Group,” in Music Educators Journal, lxxxvi, May 2000, 23–7. 2465. Stratton, George, and Alan Frank. The Playing of Chamber Music, in The Student’s Music Library. London: Oxford University, 1935. 2nd ed. London: Dennis Dobson, 1951. MT 728.S91P4.1951. x + 80 pages. Reprinted in The Strad, l (1939), 66–7, 114–16, 162, 164, 213–16, 247–9, 279–281, 311–13, 354–360, 375–7, and 407–9. Here is a practical guide by an ensemble coach for performers who want to play chamber music: the authors advise on how to rehearse and offers technical suggestions. They interpret 3 string quartets (Mozart K. 465, Beethoven Op. 59 No. 3, and Debussy) from the standpoint of how the 4 players are to blend together: dynamics,

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bowings, fingerings, vibratos, and so on. There is a brief chapter on other types of chamber music. An historically interesting discussion of the difference between practice and rehearsal may be found in John Hullah’s Music in the House 224. 2466. Aulich, Bruno. Alte Musik, recht verstanden – richtig gespielt. Mit einem Verzeichnis sämtlicher Neudrucke. Munich: Ernst Heimeran, 1957. 226 pages. 2nd rev. ed. Alte Musik für Hausmusikanten. Munich: Heimeran, 1968. ML 195.A84.1968. 288 pages. A book on Baroque (1650–1750) chamber music designed to aid the amateur performer at home. This is specifically not for the professional musician or musicologist. Aulich gives a general history of Baroque chamber music, hints at the performance of ornaments, and discusses form and stylistic traits of such music. He concludes with lists of repertory. 2467. Sutter, Milton. “Francesco Galeazzi on the Duties of the Leader or Concertmaster,” in Consort, xxxii (1976), 185–192. The first Italian discussion of seating plans and the make-up of ensembles both orchestral and chamber (in and out of church) is in Galeazzi’s “Del Regolare, o sia de Doveri di un Primo Violino,” in Elementi Teorico-Pratici di Musica, Chapter I, (1791). There is also information on tempos, ensemble, and tuning. Information on the business aspects of organizing professional chamber music can be found in: 2468. Helmen, Lillian Campbell. Organizational Manual for Chamber Music Ensembles. [New York]: Chamber Music America, 1981. ML 3795.H445. ISBN 0-941398-00-5. vi + 139 pages. “Organizational Alternatives: A Study of the Organizational Formats of Chamber Music Ensembles.” MA thesis. American University, 1983. UMI PSE 13–20607. Masters Abstracts xxi.4 (1983), p. 360. 119 pages. The difference between the thesis and the book is that the former is aimed at a scholarly readership and the latter at the performing public and those who want to promote chamber music. Helmen discusses the legal types of chamber music organization; federal and other taxes; income, funding, and support; organizational structure; administration; and 3 case studies. She surveyed 143 American chamber ensembles of different types: sole proprietorships, partnerships, corporations, unincorporated associations, and ensembles under the aegis of a larger organization. She gives alternative solutions to chamber ensembles on how to organize themselves from a business standpoint.

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2469. Ellis, Carolyn S. “Presenting Yourself: How to Promote Your Chamber Ensemble.” Strings, xx (February 2006), 18+. On the organization of amateur chamber music, see Oskar Vetter’s “Warum und wie spielen wir Kammermusik?” 712 with a defense of amateur chamber music and how it is played, and Adorno’s chapter on chamber music 716, which describes the role of amateur Hausmusik. 2470. Piastro, Mishel. “On the Fingerboard,” in Symphony, iv (June, 1950), 11. Piastro does not believe a string quartet player can play in an orchestra or an orchestral player in a string quartet. The orchestral player wants to be led by the conductor, and his value as a player in the orchestra is his response to the conductor. The chamber player seeks equality and is part of the decision-making process. BIBLIOGRAPHIES OF PERFORMANCE PRACTICE FOR CHAMBER MUSIC 2471. Newman, William S., coordinator. “Bibliography of Performance Practices,” in Current Musicology, No. 8 (1969), 5–96. List of studies directly bearing on the performance of music from c.1100 to c.1900. Although most articles on instruments pertain to the execution of fingering, bowing, embouchure, and ornamentation of individual instruments, some of the items are relevant also to performance of chamber music, especially before 1780. 2472. Garretson, Homer Eugene. “An Annotated Bibliography of Written Material Pertinent to the Performance of Chamber Music for Stringed Instruments.” EdD dissertation. University of Illinois, 1961. UMI 61–4295. DA xxii.5A, p. 1654. 96 pages. Garretson provides “a ready means of access to all books and periodical literature written since 1900 pertaining to the performance of chamber music for stringed instruments” that is designed for teacher or scholar. He also includes a selective list of Baroque and early Classical chamber music suitable for public school use. All the issues of 37 European and American periodicals were covered for relevant materials, and 3 major libraries were searched for all relevant holdings. 2473. Squire, Alan Paul. “An Annotated Bibliography of Written Material Pertinent to the Performance of Woodwind Chamber Music.” EdD dissertation. University of Illinois, 1960. UMI 60–3999. DA xxi.6, pp. 1587–1588. 135 pages.

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Comparable to Garretson and Rutan, this is a bibliography commissioned by the Music Educators National Conference that is designed for woodwind students who need to learn ensemble and specific music by means of harmonic and structural analysis, historical importance, and aesthetic value, all of which affect balance, intonation, articulation, phrasing, and so on. Squire concentrates on articles, books, and critical editions in English, though some French and German literature is included separately. He also gives a graded list suitable for performance by high school groups. He includes chamber music for a majority of woodwind instruments as well as 1 woodwind with piano. The bibliography includes: 1) history and development of woodwind instruments; 2) acoustical and playing characteristics of woodwind instruments; 3) history and development of woodwind chamber music; 4) musical interpretation of woodwind chamber music; 5) harmonic and structural analyses of woodwind chamber music; 6) ensemble rehearsal and performance practices; 7) specific playing techniques of woodwind instruments; and 8) related German and French books and articles. 2474. Rutan, Harold Duane. “An Annotated Bibliography of Written Material Pertinent to the Performance of Brass and Percussion Chamber Music.” EdD dissertation. University of Illinois, 1960. LC 61–196. DA xxi.11, pp. 3481–3482. iv + 369 pages. A list of books and articles pertaining to performance of brass chamber music and a graded list of such music for schools. Rutan organizes the bibliographical material first by articles in foreign language journals, then articles in English language journals, and then selected books, dissertations, essays, catalogues, and pamphlets. Many of the citations deal with structural and technical features of the instruments and are only incidentally related to chamber music; most of the other citations concern orchestral uses of the instruments, vocal works with brass, and pre-17th-century works. Only a few citations have anything to do with actual chamber music. PERFORMANCE ADVICE FOR THE CHAMBER MUSIC OF SPECIFIC PERIODS AND COMPOSERS 2475. Lawson, Colin James, and Robin Stowell. The Historical Performance of Music: An Introduction. Cambridge/New York: Cambridge University Press, 1999. ML457.L39.1999. xiii + 219 pages. This book gives an overall introduction to the issues and sources of performance practice.

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2476. Rastall, Richard. “Spatial Effects in English Instrumental Consort Music c.1560–1605,” in Early Music, xxv (1997), 269–88. Rastall considers how a performer of consort music heard the musical lines of the other performers. This article begins with recognizing where the performers stationed themselves—between 1560 and 1605 they were around a table. Rastall then considers specific examples where the partbooks helped determine who sat next to whom, and where the dispositions of the players would enable some “antiphonal” effects. He includes numerous potential seating charts and 2 beautiful reproductions of paintings of the time showing the table format. 2477. Mangsen, Sandra. “Ad libitum Procedures in Instrumental Duos and Trios,” Early Music, xix (1991), 28–40. Mangsen discusses duos and trios published between 1600 and 1675 by such composers as Salomone Rossi, Biagio Marini, Mauritio Cazzati, and Mario Uccellini. She is concerned with the ad libitum substitution of instruments or even voices for the given parts. 2478. Mangsen, Sandra. “The Trio Sonata in Pre-Corellian Prints: When Does 3 = 4?” in Performance Practice Review, iii (1990), 138–64. Writing primarily for the performer of early, pre-Corelli trio sonatas, Mangsen discusses how many and what instruments should play the bass line; there was no standard practice in the seventeenth century. She finds that in sonatas of Salomone Rossi, Buonamente, G. M. Bononcini, and in some by G.B. Vitali and others, 1 player (but not both) played the bass line: “a single melodic or chordal instrument.” By the mid-17th century there were occasional doublings—both chordal and melodic instruments together—but such occurrences were exceptional. By the 1660s it was often both together (Cazzati). If there are both, the chordal instrument is less active than the melodic one, which becomes a contrapuntal partner of the upper parts. 2479. Loft, Abram. Ensemble! A Rehearsal Guide to Thirty Great Works of Chamber Music. Portland (OR): Amadeus Press 1992. MT140. L58.1992. ISBN 0-931340-45-4. 360 pages. After an exemplary, detailed introductory chapter explaining the basics of how to rehearse chamber music, Loft devotes a measure by measure guide to rehearsing specific pieces of chamber music by Haydn (3 pieces), Mozart (5), Beethoven (3), Schubert (3), Mendelssohn, Schumann, Brahms (2), Tchaikovsky, Smetana, Fauré, Dvorak (2), Debussy, Hindemith, Crawford, Bartók (2), Shostakovich, and Britten. Twenty pieces are string quartets; the rest vary from trios to a sextet. This is not for beginners but can be useful to the more advanced ensembles.

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2480. Elste, Martin. Meilensteine der Bach-Interpretation 1750–2000: eine Werkgeschichte im Wandel. Kassel/New York: Bärenreiter, 2000. ISBN 3-476-01714-1. A section (pages 301–319) deals specifically with the recordings of Bach chamber music and how they re-interpret the repertory. 2481. Schmitz, Hans-Peter. “Les Possibilités d’Instrumentation ad Libitum dans la Musique de Chambre Française pendant la Première Moité du 18ème Siècle (en Tenant Particulièrement Compte de la Flûte et de sa Littérature),” in Édith Weber, ed, Couperin Colloque: l’Interprétation de la Musique Française aux xviie et xviiie Siècles: Colloques Internationaux du CNRS, 537: Paris, 20–26 Oct 1969. Paris: CNRS, 1974. RILM 74–3824. Schmitz stresses the liberty taken at the time in instrumentation, tessitura, tonality, tempo, rhythm, nuance, phrasing, and ornamentation, “as long as the meaning or spirit of the work was not modified.” 2482. Le Hurray, Peter. Authenticity in Performance: Eighteenth-Century Case Studies. Cambridge: Cambridge University Press, 1990. ISBN 0-5213-9044-3. xvi + 202 pages. Le Hurray studies 2 chamber works (among pieces in other genres) in particular: Corelli’s Op. 5, No. 11, and Mozart’s D minor String Quartet. He considers bowing, tempo, dynamics, and ornamentation in the piece by Corelli, along with the kind of instrument used at that time. Then, with the Mozart piece, he first considers an analysis of the work by Jérome-Joseph de Momigay (Paris: 1806) before interpreting the quartet based on Leopold Mozart’s 1756 treatise on the violin. 2483. Brown, Clive. Classical and Romantic Performing Practice 1750–1900. Oxford/New York: Oxford University Press, 1999. ISBN 0-19-816165-4. ML457.B76.1999. xiii + 662 pages. This is 1 of the most important books on performance practice of music. After careful warnings to performers and scholars on the nature of “historical performance,” Brown concentrates on the relationship between notation and performance. His topics include accentuation, dynamics, articulation, phrasing and expression, string bowing, tempo, ornamentation, improvisation, vibrato, and portamento, among others. While Brown considers all European art music of this period, his remarks are important for all chamber music performers of the period from Haydn and Mozart to Brahms. 2484. Barnes, James. “Mozart’s Chamber Music,” in Music Journal, xiv (March, 1956), 24, 41–2.

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Barnes recognizes the problems as well as the truths in the extremes of literal interpretation or a performer’s instinctive interpretation of Mozart. Tempo is relative and personal within limits. Dynamics are less extreme in Mozart than in the Mannheimers or Beethoven but mature Mozart requires strength. Phrasing must not be mechanical but also must not be too full of rubatos. See also 2589 for Kolisch’s ideas of tempo and character in Beethoven’s music. 2485. Levin, Thomas Y. “Integral Interpretation: Introductory Notes to Beethoven, Kolisch and the Question of the Metronome,” in The Musical Quarterly, lxxvii (1993), 81–9. An introduction to Kolisch’s treatise on tempo in Beethoven’s music. 2486. Fry, J. “Brahms’ Conception of the Scherzo in Chamber Music,” in The Musical Times, lxxxiv (1943), 105–7. Fry notes 2 types of scherzos: in the lighter-scored (some sonatas, quartets, quintets) and in the heavier-scored (2 sextets and piano chamber music). In the former, Brahms cautions against too scherzando an effect—he uses words with “scherzo” (such as “un poco Allegretto”) or avoids the word altogether. The other type is noisy, vigorous, and without the lightness in the first type. This distinction also applies to the trios following the scherzos. 2487. Bozarth, George S. “Fanny Davies and Brahms’s Late Chamber Music,” in Performing Brahms: Early Evidence of Performance Style, Michael Musgrave and Bernard D. Sherman, eds, (Cambridge: Cambridge University Press, 2003, ISBN 0521652731), 170–219. The eminent English pianist Fanny Davies (1861–1934), a pupil of Clara Schumann, often played chamber music with Brahms and his inner circle (Clara Schumann, Joachim, Mühlfeld, Hausmann) during the 1880s and 1890s. Her annotations on her copies of the scores of such works as the Op. 101 Piano Trio, the revised Op. 8 Piano Trio, and the Clarinet Trio Op. 114 show how Brahms played these works or wished to have them played. Tables give all these annotations in detail. The scores survive in the Royal College of Music in London. 2488. Brown, Clive. “Joachim’s Violin Playing and the Performance of Brahms’s String Music,” in Performaning Brahms: Early Evidence of Performance Style, Michael Musgrave and Bernard D. Sherman, eds, (Cambridge: Cambridge University Press, 2003, ISBN 0521652731), 48–98. Brown provides an important discussion of how Joachim and others of his time played Brahms’s chamber music, as revealed in letters,

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recordings, Joachim and Moser’s Violinschule, and other documents. The emphasis is on vibrato, portamento, tempo, and ornamentation. 2489. Childers, Christopher Micah. “Tempo in Brahms and its Application in the Piano Quintet, Op. 34.” DMA dissertation. University of Houston, 2004. ISBN 049607296X. 222 pages. Childers gives a brief history of the concept of tempo before Brahms and how Brahms himself felt about those designations. He includes a glossary of the tempo terms Brahms used, consideration of those pieces for which he gave metronome markings (including the 3 piano trios), and a discussion of why, at one point, Brahms withdrew all his metronome markings. Childers provides a review of what Brahms’s friends reported about his tempos, and a consideration of his 1889 recording. Finally, he deals with the tempos in the piano quintet, which modern performers disregard. 2490. Lessing, Wolfgang. “Vom Text zum Klang: Das Klarinettentrio von Johannes Brahms im Spannungsfeld zwischen Analyse und Interpretation,” in Musiktheorie, xx (2005), 299–315. Taking the exposition of the first movement of the clarinet trio as an example, Lessing shows that the conflict between literal reading of the rhythm of the notes on the page and analytical interpretation of the meaning of those notes can only be resolved in a given performance by the gesture—the unwritten tradition of a performance practice. ADVICE ON PERFORMING STRING QUARTETS 2491. Norton, Mary Dows Herter. String Quartet Playing: A New Treatise on Chamber Music, its Technic and Interpretation. New York: Carl Fischer, 1925. MT 728.H37.1925. 144 pages, 132 examples. New ed. 1952. Rev. ed. The Art of String Quartet Playing: Practice, Technique and Interpretation, with a Preface by Isaac Stern. London: V. Gollancz, 1962. MT 728.H37.1962. Paperback edition New York: W.W. Norton, 1966. 785.7 N82S. 190 pages, 132 examples. Sound advice is given here to performers by an experienced player on how best to play string quartets: how to rehearse, matters of phrasing, style, rhythm, and so on. Norton offers a technical discussion of bowing, fingering, and ensemble. This is valuable for all ensembles, not just string quartets. The 1966 edition excludes the old first chapter and adds a chapter on rehearsal; it also expands some of the other material. 2492. Page, Athol. Playing String Quartets. Boston: Humphries/London: Longmans, 1964. MT 728.P32. vii + 131 pages.

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An experienced quartet player (member of the Manchester String Quartet) presents a practical guide to people wanting to play string quartets. Page discusses such details as the types of mutes, methods of tuning, intonation, vibrato, bowing, pizzicato, ensemble, rehearsal, performance, and interpretation. All these comments are intelligent and any quartet musician will do well to follow them. However, the comments on specific compositions are subjective and superficial, and an introduction on the precursors of the quartet is best ignored. 2493. Borciani, Paolo. Il Quartetto. Milan: Ricordi, 1973. MT 728.B67. 164 pages, 324 examples. This is a detailed, thorough, practical guide for string quartet players, amateurs, and mostly young professionals, by the original first violinist of the Quartetto Italiano. Part I deals with organizational factors, concert requirements (for example, the program, the seating arrangement), and the life of a quartet (study habits, tours, and so on). Part II deals with the actual playing: intonation, the sound (intensity, dynamics, balance, pizzicato), types of bowing, vibrato, portamento and changing strings, rhythm, and so forth. There are ample illustrations of each point (and additional examples in the appendix) from Haydn to Webern but mostly from Beethoven. A special chapter is devoted to some technical and interpretive problems in Schubert’s D minor Quartet D. 810, first movement. 2494. Stowell, Robin, ed. The Cambridge Companion to the String Quartet. Cambridge/New York: Cambridge University Press, 2003. ISBN 0521-80194X. xvii + 373 pages. A basic manual for performers (professional and amateur) and audiences of string quartets. Eleven authors discuss the history and social ambiance of string quartets, the most famous string quartet ensembles from the mid-18th century to 2000, how to play quartets including issues of performance practice, and the repertory. The book is well written and well researched with an extensive bibliography. 2495. Stüber, Jutta. Anleitung zum Quartettspiel in reiner Stimmung, in Orpheus-Schriftenreihe zu Grundfragen der Music, lxxii. Bonn: Orpheus-Verlag, 1994. ISBN 3-922626-72-6. 325 pages. A treatise solely on intonation and narrow vibrato, which Stüber believes are essential if the chamber music composed before 1900 is to be performed correctly. 2496. Tapping, Roger. “In the studio: Quartet Coaching Strategies.” Journal of the American Viola Society, xxi (Fall 2005), 43–6.

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Tapping, who was the violist of the Takács Quartet for 10 years, believes that all professional players should coach a young quartet in order to broaden their understanding of the music. He briefly outlines some points that such a coach needs to observe, such as the placement of the viola with its face to the audience so that it balances with the rest of the instruments. He stresses the importance of playing in tune, of eye contact among the musicians, and the tactful and friendly respect each player should have for the others. 2497. Raaben, Lev Nikolaevich. Voprosy Kvartetnogo Ispolnitel’stva. 2nd ed. Moscow: Musyka, 1960. MT 728.R22.1960. 108 pages. Raaben provides a book on the performance of string quartets for performers, dealing with problems of melody, polyphony, harmony, rhythm, intonation, tone, dynamics, and vibrato. He gives examples of specific standard works in regard to these questions (Schumann, Beethoven, Borodin, Tchaikovsky, Glazunov, Ravel, and others). 2498. Zenck, Martin. “Lesen, betrachten, spielen … : Kriterien der Streichquartettkomposition,” in Neue Zeitschrift für Musik, clxvii, No. 2 (March–April 2006), 12–17. Zenck considers the transformation of a string quartet composition from the printed page through rehearsals to concert performance and what that means for the characterization of the string-quartet genre. In consideration of the importance of a particular composition, the performers’ realization of the score is crucial. 2499. Fink, I., and C. Merriell, eds. String Quartet Playing: With the Guarneri String Quartet. Neptune City (NJ): Paganiniana Publications, 1985. ISBN 0-86622-007-0. 191 pages. Interviews with the players of the Guarneri String Quartet on how to play quartets, with lots of advice on how to “achieve top performance in string quartets.” The authors consider tone production, ensemble, and much more. There are analyses for the performance of 5 movements: Mozart’s “Dissonance,” movement 1; Beethoven’s Op. 59 No. 2, movement 1; and Ravel, movements 1–3. 2500. Pochon, Alfred. A Progressive Method of String-Quartet Playing. New York: G. Schirmer, 1928. MT 728.P6. 2 parts. I: xi + 66 pages (elementary; in English [original], French, and Spanish); II: 86 pages, 53 examples (advanced; in French [original] and English, trl. by Theodore Baker). Each part has a commentary followed by examples; the examples include score and a set of parts. Part II is the best practical instruction book for more advanced student quartet players. It covers a wide range of performance questions,

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such as interpretation, tone-vibrato, and bowings; special technique questions like scales, saltati, rhythms, pizzicato, and chromatic fingerings; and some special topics, for example “things to be avoided,” harmonics, and how to practice. The instructions are clear, precise, and effective. Examples in Part II range from Beethoven to Webern. But Pochon does not touch upon organizational matters, concert behavior, and the like. 2501. Léner, Jenó. The Technique of String Quartet Playing. London: J. & W. Chester, 1935. ML 810.L57T4. Score (iv + 42 pages) and parts (25 or 26 pages each). In English, French, and German. In a book that is the equivalent to Pochon 2500, Léner gives excercises for string quartet ensembles in scales, dynamics, tone color and bowing with examples drawn from Kreutzer, Haydn, Beethoven, J. Jongen, and Malipiero. It is not as large as Pochon, and it does not get as difficult. Verbal instructions are given. 2502. Davidian, R. “Kvartetnoye ispolnitel’stvo” [Quartet performance]. University of Moscow dissertation, 1992. Davidian, R. “Kvartetnoe iskusstvo: problemy ispolnitel’stva-teoreticheskie osnovy, prakticheski opyt.” Moscow: Muzyka, 1994. ISBN 5-7140-0354-3. 316 pages. 2503. Spohr, Louis. “On the Delivery or Style of Performing Quartetts,” in Celebrated Violin School, trl. John Bishop (London: R. Cocks & Co., [1843]), 232–3. MT 262.S82.1843. Originally published in Violinschule (Kassel: n.p., 1831; Vienna: T. Haslinger, 1832). MT 262.S8. Spohr refers the violinist to a section on concertos for the performance of solo quartets ( = quatuors brillans = quatuors concertants), while here he emphasizes the “genuine quartet” where the soloist must step aside and that requires “a higher degree of sensibility, a more refined taste, and a knowledge of composition.” The violinist should first play second violin in order to learn to accompany and accommodate himself to the first violinist. The first violinist must study and mark his part and must know the entire score before he plays it. The violinist has to make his part violinistic—add bowings, fingerings, and so on—but with great care to achieve the ideas of the composer and to balance the instruments properly. 2504. Sharp, J. Wharton. “Quartet Playing,” in The Strad, xviii (1908), 412–13; xix (1909), 29–30, 49–50, 90–2, and 121–4. Since so many “quartet parties” have been formed (one of the most perfect was Joachim’s), Sharp offers some advice for them about starting out. “Intuitive playing together” (ensemble playing) is most important. All 4 players are equal, though the first violinist has a

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responsibility to see that everyone works together. All should coordinate dynamics, and concentrate especially on very soft passages. All should learn to accompany without losing interest. Sharp stresses the ability to read well. Then Sharp goes into a specific repertory that he recommends for the new ensemble, starting with Mozart’s 6 “Haydn” quartets, and then Haydn himself, with details on performance on some points. He also talks about how to perform a Beethoven string trio (The Strad, xix 158–162). 2505. Aulich, Bruno, and Ernst Heimeran. Das stillvergnügte Streichquartett. Munich: Ernst Heimeran, 1936. English trl. by D. Millar Craig, The Well-Tempered String Quartet: a Book of Counsel and Entertainment for All Lovers of Music in the Home. London: Novello/New York: H.W. Gray, 1938. Rev. ed. 1949. ML 67.A843.1949. iv + 147 pages. This is a handbook for amateur string quartet players with suggestions for rehearsing, making up programs, and (the bulk of the book) an alphabetical list of composers of chamber music with a brief discussion of their principal chamber pieces. At the end, there is a discussion of trios, quintets, and other larger types of chamber music, and suggestions of chamber music to play when a member of the quartet does not show up or when extra players do. 2506. Waterman, David. “Performer’s Perspective: Four’s a Crowd,” in Medical Problems of Performing Artists, xix (September 2004), 107–8. A brief, pleasant, amusing account by the violoncellist of the Endellion Quartet on how members of a quartet criticize each other in order to improve the performance. A necessary part of a rehearsal, such criticism should always be done tactfully. 2507. Chafetz, Lester. The Ill Tempered String Quartet: A Vademecum for the Amateur Musician. Jefferson (NC)/London: McFarland, 1989. ML 67.C5.1989. ISBN 0-89950-398-5. xii + 168 pages. 2nd ed., 2004 (2005). ISBN 0786421517. A witty handbook of advice for very amateur chamber music players. It is full of factual errors and historical inaccuracies, but that does not detract from the main point of the book: to explain to those who are about to embark on amateur string quartet playing what is involved. 2508. Crane, Patricia Ann. Hierarchical Relationships in the String Quartet: Struggles for Power and Popularity. MA thesis. University of Nevada, Reno, 2006. viii + 134 pages. Crane gives a review of the relationships of the 4 members of the string quartet to each other and the relationships of composers, publishers and audiences vis-à-vis the performers and each other. Matters of

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gender, race, class, and professional levels are figured into the mix. Crane then considers what these relationships are in regard to the future of the genre. 2509. Crask, Kathryn Potter. “Good String Quartet Music for a Beginning Ensemble,” in The Instrumentalist, lviii (April 2004), 38+. 2510. Davidson, Jane W., and James M. Good. “Social and Musical Coordination between Members of a String Quartet: An Exploratory Study,” in Psychology of Music, xxx, No. 2 (2002), 186–201. This is a general socio-cultural and socio-emotional study of how the musicians in a string quartet interact with each other, followed by a case study of a quartet of young musicians at a British university performing a Mozart and a Britten quartet. See also Jane W Davidson, “Drustveno u muzickoj izvedbi: Predstavljanje drustvenog,” in Muzika Casopis za Muzicku Kulturu, xi (January–June 2007), 45–59. 2511. Kehr, Günter. “Kammermusikalische Selbstverständlichkeiten,” in Musikleben, iii (1950), 279–82. Kehr discusses the basic elements of playing chamber music: rhythm, intonation, dynamics, phrasing and expression. He offers sound advice for students or teachers involved in chamber music. The ethics of chamber music require cooperation and an understanding of the importance of the music over the individuality of each player. 2512. Kornstein, Egon F. “How to Practise a String-Quartet,” trl. by Dorothy Holland, in Music and Letters, iii (1923), 329–34. A chatty discussion of how the Hungarian Quartet, of which Kornstein was a member, rehearses a new work (it premiered Bartók’s First Quartet). There are 4 stages: deciding who has the relatively important material at a given time, deciding on the right quality of sound, reassembling the quartet with the right tempos (at this point the composer can be invited in), and studying further to obtain the final conception. 2513. Brown, James. “The Amateur String Quartet,” in The Musical Times, lxviii (1927), 508–9, 600–2, 714–16, 798–800, 907–9, and 1078–81. Brown offers advice to teachers on how to recruit and train young performers in playing string quartets. They must not be too young. They should listen to each other. Brown indicates what the teacher should listen for in a violinist, violist, and cellist. He explains how to train them, including not only their ears and hands but how to be disciplined in rhythm, tone, phrasing, style, and quality. Although written in an archaic manner, this is an interesting manual.

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2514. Tertis, Lionel. “The String Quartet,” in Music and Letters, xxxi (April, 1950), 148–150. A famous violist in numerous quartets and a coach of still others gives a few suggestions for quartet playing: great executive powers, a close relation in tone-quality among the 4 players, and agreement in style and outlook. There also needs to be a strong leader and good team spirit. Tertis gives suggestions on bowing and pizzicatos, and some remarks for the pianist who joins in. 2515. Betti, Adolfo. “Quartet Playing,” in Music and Letters, iv (1923), 1–5. This important violinist (member of the Flonzaley Quartet) discusses the role of the first violinist in a quartet: he is a part of a whole, not a dictator like an orchestral conductor. “The quartet is a conversation between 4 friends, not a lecture by 1 of them with the others just nodding agreement.” The first violinist must be a psychologist in order to work so closely with 3 other players. The quartet is more delicate than a symphony and needs many more rehearsals—30 to 35 for an important new work (“the Flonzaley Quartet needed fifty-five to produce Schönberg’s Op. 7”). While the first violinist should know the whole score, no work is really known until it is performed very accurately. Tempi are extremely important but also extremely elusive. Interpreters must recreate the inspiration in the music from inadequate and ambiguous expression signs on the score. Betti finds that Mozart and Haydn quartets carry better in big halls (3,000 to 4,000 people) than Tchaikovsky or Smetana. See also 698. 2516. Brainin, Norbert. “Problems of a ‘Real’ String Quartet,” in The Strad, ciii (February 1992), 134–5. Brainin deals with performance issues. 2517. Campbell, Margaret. “Four Players, One Instrument,” in The Strad, ciii (December 1992), 1169–71. Campbell deals with questions of performance. 2518. Gertler, André. “Advice to Young Quartet-Players,” in The Score, No. 5 (August 1951), 19–32. Instead of a list of dos and don’ts, Gertler ambles along with anecdotes commenting on the depth of Beethoven as opposed to the shallowness of Wieniawski, the need for ensembles to practice, the need for a quartet player to subordinate him/herself to the composer and yet be capable of great technique and wide variety of tone color, and so on. He gives personal recollections of Bartók and the composer’s alterations of his own printed tempos. He calls for a

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metronome—good discipline. This is a useful article, especially for the student chamber ensemble, even if it is presented in a rambling fashion. 2519. Murnighan, J. Keith. “Many Hands across the Sea: A Social Scientist Looks at the British String Quartet,” in American Ensemble, vi, No. 3 (1983), 10–11. A sociological study of 20 British string quartet ensembles who were interviewed at length (82 actual interviews). Murnighan analyzes both the issues of the individual players and those pertaining to the group as a whole. There are some generalities: most started studying their instrument at age 7; most came from musical families; most married musical persons; there was almost unanimous reverence for the quartet literature; and there was a continuous search for the ideal sound. Murnighan also considers rehearsal questions, the peculiarities of particular instruments, and who leads the quartet. Advice on performing the string quartets of specific composers For performance practice in Bartók’s quartets, see Myron Kartman’s “Analysis and Performance Problems in the Second, Fourth and Sixth String Quartets by Bela Bartok” 850. For some performance suggestions of the Beethoven string quartets, see Rebecca Clarke’s “The Beethoven Quartets as a Player Sees Them” 1285, and Hugo Riemann’s Beethoven’s Streichquartette erläutert 904. 2520. Lockwood, Lewis. Inside Beethoven’s Quartets: History, Interpretation, Performance. Cambridge (MA)/London: Harvard University Press, 2008. ISBN: 9780674028098. xii + 285 pages. This is a unique study of the first movements of 3 Beethoven string quartets (Op. 18, No. 1; Op. 59, No. 1; and Op. 130) by musicologist Lockwood and members of the Juilliard String Quartet. Lockwood presents historical information, the musicians discuss aspects of the music with him, and then the ensemble performs the works on an accompanying CD. A complete score is included for each of the 3 movements. It is designed for the amateur and student but is also extremely valuable for all performers and lovers of Beethoven’s chamber music. 2521. Turner, R. J. “Style and Tradition in String Quartet Performance: A study of 32 Recordings of Beethoven’s op. 131 Quartet.” PhD dissertation. University of Sheffield, 2004. 2522. Schmid, Willi. “Zur Interpretation von Beethovens Streichquartetten,” in Melos, vii (1928), 396–404.

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Schmid notes that the best musicians have interpreted these quartets, each according to personal, natural, and historic criteria of expression. The Czech Quartets are freer, the Viennese stricter in interpretation. Also, the different styles of violin playing influence interpretation. He offers general remarks on style rather than detailed ways to play particular phrases or notes. The 3 kinds of expression—lyric, dramatic, and oratoric—are difficult to separate in the late quartets. Schmid is concerned with line, with dynamics, and with tempo. He criticizes Riemann for being too theoretical and not practical. 2523. Todd, Donald Clarke. “The Problem of Bowing in the JoachimMoser Edition of Beethoven’s String Quartets.” DMA dissertation. University of Illinois, 1967. UMI 68–1869. DAI xxviii.8A, p. 3214. 248 pages. Todd concentrates on the alterations in bowing and articulation that Joachim made to Beethoven’s Op. 59 No. 3 quartet and then to the previous 8 quartets. He compares Joachim’s version to the urtext edition and the surviving quartet manuscripts. He identifies changes made for expediency—easier bowings—and then shows how some are actually inferior to Beethoven’s suggestions. Joachim did not have the manuscripts of Op. 18 at his disposal. 2524. Celentano, John P. “The Bow Stroke in Beethoven’s Opus 18,” in American String Teacher, Vol. xxxix (1989), 61–2. See 935 for a comparison of performance practices for the first movement of Beethoven’s Op. 59, No. 1. For suggestions on dynamics in Beethoven’s late quartets, see 893. 2525. Cox, Frank. “Das Arditti String Quartet mit Elliott Carters Kammermusik,” in Musik & Ästhetik, v (January 2001), 25–35. A comparison of the recordings of the 5 Carter string quartets and a few other works by the Arditti and Juilliard quartets. Cox accepts both ensembles as tops in the interpretation of modern music, but he faults the Arditti for what he sees as a false interpretation of Carter, especially in taste and rhythm. The Arditti quartet plays too elegantly. This is an important discussion of how to interpret these very difficult works. For Grieg’s quartet, see 1470. 2526. Keller, Hans. “The Interpretation of the Haydn Quartets,” in The Score, xxiv (November 1958), 14–35. An introduction commiserates with students on the sad state of modern chamber music: fewer and fewer people know how to

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play a genuine string quartet. To play any string quartet or to understand it, one must start with Haydn. Keller claims that the literature on the Haydn string quartets is faulty because the writers are not performers of those pieces. He urges violinists and violists to exchange parts to learn the whole quartet. The rest of the essay is on performance suggestions of specific Haydn quartets, presented “chronologically” by opus number. Keller includes Op. 3. He discusses pizzicatos, phrasing, rhythm, and other topics. This article is a must for anyone who plays the Haydn quartets, even if some of Keller’s suggestions are obvious or arguable. See also 1511 and 1544. Keller goes into greater detail in the performance of later Haydn quartets in 1512. 2527. Robinson, Edith. “Some Reflections on the Interpretation of Haydn’s Quartets,” in The Strad, xliii (1932), 530–2. This article is a plea from a violinist whose training was in Leipzig 1884–1894 to return to a pure style of playing Haydn, without exaggerated tempi and dynamics, with less of a vibrato, and with bow strokes known to Haydn. Haydn is not dainty or graceful; he is witty. Robinson gives specific advice on tempos, ornaments, and so on, which help characterize a style of quartet playing of the late-19th century in Germany and England. 2528. Somfai, László. “Zur Aufführungspraxis der frühen StreichquartettDivertimenti Haydns,” in Vera Schwarz, ed, Der junge Haydn: Kongressbericht Graz 1970: Beiträge für Aufführungspraxis, i (Graz: Akademische Druck-und Verlagsanstalt, 1972), 86–97. Haydn’s real quartets begin with Op. 9. The 10 or 12 earlier ones are divertimenti. Somfai does not attempt to give the absolute way in which they should be performed, but to outline the difficulties in trying to perform them accurately. The 4 issues that have to be dealt with are: 1) whether the individual parts are solistic or orchestral; 2) whether the quartets are to be performed with or without continuo; 3) what instrument plays the bass; and 4) what the solution is of the viola part that often causes voice-leading problems. After that, come questions of ornamentation, phrasing and dynamics. Each of the 4 first, basic questions is discussed with examples. 2529. Drabkin, William M. “Fingering in Haydn’s String Quartets,” in Early Music, xvi (1988), 50–7. For insight into performing Mozart’s String Quartet K. 387, see Hans Keller’s “The Chamber Music” 1846. See 2482 for suggestions on performing Mozart’s D minor quartet.

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2530. Berkley, Harold. “Grace Notes in a Mozart Quartet,” in Etude, lxx (December, 1952), 25. In 3 very brief paragraphs (only the first part of the article), Berkley tells a questioner how to perform the “grace” notes in mm. 3–4 of Mozart’s K. 575, movement 1: they take the value they indicate, always on the beat. 2531. Steuermann, Clara. “In Memory of Rudolf Kolisch (1896–1978),” in Perspectives of New Music, xvi, No. 2 (1978), 247–50. A brief tribute to Kolisch and some personal recollections on the life and work of this famous string quartet violinist and brother-in-law of Schoenberg. Steuermann describes the main events of his career, his preparation for a performance of a Schoenberg quartet in 1944, and his personality. This is useful for anyone planning to play a Schoenberg quartet. 2532. Anon. “A Russian Novel: The Manhattan String Quartet: A Primer on Shostakovich and His quartets,” in Strings, xxi (June-July 2006), 32–40. For Smetana’s E-minor Quartet see 2312. ADVICE ON PERFORMING SONATAS 2533. Seagrave, Barbara Ann Garvey. “The French Style of Violin Bowing and Phrasing from Lully to Jacques Aubert (1650–1730): As Illustrated in Dances from Ballets and Dance Movements from Violin Sonatas of Representative Composers.” PhD dissertation. Stanford University, 1959. UMI 59–1452. DA xix.12, pp. 3322–3. 309 pages. Seagrave tries to explain terms and markings in 17th-century French violin music, rules for bowing that are not in the music, the effects of the nature of the instrument of the time on bowings, rhythmic conventions of the time that are not notated, and the relationship between dance and music. She relies heavily on French and foreign treatises of the time and on dance music and sonatas. She concludes that bowing patterns correspond in length to dance patterns in France but were much more freely interpreted in Italy. 2534. Rubinstein, Seymour Z. “A Technical Investigation and Performance of Three French Violin Sonatas of the Early Twentieth Century (1915– 1927), Debussy, Ravel and Fauré.” EdD dissertation. Columbia University Teachers College, 1976. UMI 76–17292. DAI xxxvii.2A, p. 684. An investigation into “the problems of violin technique inherent in the interpretation of these works. These problems include bow

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control and angles of application, glissando, spiccato, pizzicato, variety in vibrato effect, and special fingerings.” Debussy’s string quartet, Ravel’s string quartet and sonata for violin + cello, and Fauré’s Piano Quartet Op. 45 are compared to other chamber pieces by the same 3 composers. 2535. Robison, John O. “The Messa di Voce as an Instrumental Ornament in the Seventeenth and Eighteenth Centuries,” in The Music Review, xliii (1982), 1–14. The term “messa di voce” is discussed in the leading treatises of the 18th century (L. Mozart, Quantz, Corrette, C.P.E. Bach, and others) and is a specific ornament in slow movements of violin sonatas: a swell and taper. This article is relevant to the music from Corelli to Geminiani and Tartini. For performance questions in 19th-century American violin works, see James Starr’s dissertation 335. For “possible solutions to violinistic problems” in 20th-century Spanish works for violin and piano, see Laura Klugherz’s dissertation 1840. For technical problems in 20th-century American violin sonatas, see Tyska’s thesis 339. Advice on Performing Sonatas by Specific Composers 2536. Fenley, John Franklin. “The Ornamentation in Seven Flute Sonatas Composed by, or Attributed to, J.S. Bach.” EdD dissertation. University of Illinois, 1976. UMI 77–8987. DAI xxxvii.10. 477 pages. Using Putnam Aldrich’s “The Principal Agréments of the Seventeenth and Eighteenth Centuries: a Study in Musical Ornamentation” (PhD dissertation. Harvard University, 1942) as a basis, Fenley interprets the ornamentation in Bach’s 7 flute sonatas. He amasses a great amount of material (editions, treatises, theses, recordings, and articles) to interpret the 195 ornaments found in the 7 pieces in addition to those probably improvised. 2537. Baron, Samuel. “The Flute Music of J.S. Bach,” in Symphony, iv (November 1950), 9–10, and (December 1950 – January 1951), 9–10. After a distinction between flute and recorder sound and a review of Bach’s flute writing in cantatas and other types of music, Baron concentrates on the 3 sonatas for obligato clavier + flute and the 3 sonatas for flute + continuo. After a description of all 6 pieces, he suggests ways in which to perform the staccatos and to pace the breaths in all the flute works. He considers 2 questions: where to take a breath, and what kind of breath to take.

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2538. Scott, Marion Margaret. “The Violin Music of Handel and Bach,” in Music and Letters, xvi (1935), 188–99. Scott gives an historical and critical essay, without footnotes, bibliography or other full documentation, on the violin in the lives and solo works of these 2 composers. A lot of information is given, some of it apparently hearsay, but most probably factual. This is a performer’s analysis of the music, rather than a theoretician’s. For a valuable study of the performance of Beethoven’s violin + piano sonatas, see Gail Johansen’s dissertation 1029. 2539. Rostal, Max. Beethoven: The Sonatas for Piano and Violin: Thoughts on their Interpretation. Trl. Horace and Anna Rosenberg. New York/ London: Toccata, 1985. MT 145.B422R713.1985. ISBN 0-90768905-1. 219 pages, 207 examples. Original Die Sonaten für Klavier und Violine. Munich: R. Piper, 1981. Rostal provides a detailed, intense presentation of performance suggestions for the 10 sonatas, including bowing, phrasing, tempo, dynamics, and style. This is far more involved than 2545. 2540. Szigeti, Joseph. The Ten Beethoven Sonatas for Piano and Violin, ed. Paul Rolland. Urbana: American String Teachers Association, 1965. MT 145.B42S9. 55 pages. Szigeti defends these 10 sonatas as masterpieces, often quoting famous musicians over 150 years and dropping in suggestions for performance. He does not analyze but romanticizes over keys and fine points. He quotes Bartók in writing his sonata for violin + piano No. 2 as finding it impossible to write the same material for both instruments and therefore, after 1923, never writing another violin + piano sonata. Szigeti differs and shows how the 2 can complement each other in the same material. Szigeti has many technical problems with his own (sometimes those of others) solutions—fingering, bowing, phrasing, dynamics, tempo, choice of string, and so on. An appendix capsulizes Szigeti’s basic performance suggestions for each sonata. (While Szigeti was a seasoned, intelligent musician, he had a terrible bow technique, and his large fingers made his fingering useless for most violinists with much smaller fingers.) 2541. Herwegh, Marcel. Technique d’Interprétation sous Forme d’Essai d’Analyse Psychologique Expérimentale Appliqué aux Sonates pour Piano et Violon de Beethoven. [Paris: Victor Allinger, n.d.] Paris: Pierre Schneider, 1926. MT 145.B5H58. 254 pages. A serious, detailed study of interpretation of music for performers. It requires considerable knowledge of the sonatas in advance and the

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use of the score while studying. Each sonata is treated in 2 ways: an analysis of the phrases, forms, rhythms, and designs of each sonata, and a discourse on the violinist’s interpretation of his/her part (the main interest for our discussion). To interpret is to make known to the listener unambiguously the rhythmic, harmonic, and melodic role of each note of a phrase and of a polyphony, and to keep in mind the continuous expressive flow of the whole piece. Herwegh does not propose to dictate interpretation of the Beethoven sonatas but to control the details and free the performer from a servile and sterile obeisance to the printed page. He objects to trying to reproduce Beethoven on Beethoven’s instruments; “time marches on” and these works sound better with modern instruments. We should be aware of historical facts, but we also need to interpret them within our own time frame. We need to understand the psychology of music in order to obtain a more profound interpretation. Music is nuances, and nuances of nuances. The phrase is divided into 3 groups: initial, intermediate, and cadential; no matter how long or short, how homogeneous or heterogeneous, the phrase must be considered in terms of rhythm, harmony, tonality, and melodic design. This is then applied to the Beethoven sonatas, gradually to other Beethoven compositions, and then to various works by others. Rhythmic interpretation is the main focus. Herwegh is basically flexible enough to recognize contingencies based on acoustics or other physical problems of a hall. 2542. Altmann, Gustav. “Ein Fehler in Beethovens erster Violin-Sonate,” in Die Musik, xi.3 (1912), 28–9. Altmann questions the phrasing and resultant rhythm of the upbeat to measure 17 in the slow movement of Op. 12 No. 1. The upbeat should be an eighth, not a sixteenth. His comments make sense. See Sheer’s suggestions on dynamics in Beethoven’s late violoncello-piano sonatas 893. 2543. Pecman, Rudolf. “Zur Frage der Interpretation der Violinsonaten Frantisek Bendas,” trl. Jan Gruna, in Eitelfriedrich Thom, ed., Zu Fragen des Instrumentariums, der Besetzung und der Improvisation in der ersten Hälfte des 18. Jahrhunderts: Konferenzbericht der 3. wissenschaftlichen Arbeitstagung Blankenburg/Harz 28./29. Juni 1975, in Studien zur Aufführungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts, ii (Blankenburg/Harz: Rat des Bezirkes Magdeburg, c.1975), 38–48. HML 175.898. Pecman refers to the 157 violin + continuo sonatas by Benda, which in general are different from North German examples and Baroque ones. Usually they are in the major mode, consist of 3 movements

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fast-slow-fast, and have a binary form that has not yet evolved into sonata form. Then he analyzes the ornamentation that survives for many of them, comparing them to those by Tartini and L. Mozart. Since different ornaments exist for the same music, it is evident that the surviving ornaments are to be taken as typical but not definitive. The ornamentation never distracts or exists for its own sake; it and all expressions serve the music. Benda clearly used dynamic shading—crescendo and decrescendo—and echo effects. Unlike C.P.E. Bach and L. Mozart, Benda began all trills on the written note and then went up. For another discussion of the embellishments of sonatas for violin + bass by Franz Benda, see Douglas Lee’s article 1067. 2544. Babitz, Sol. “Corelli in the 20th Century,” in International Musician, lii (July 1953), 28–9. On Corelli’s 300th birthday, a call to perform his music in an authentic style. The focus is on ornamentation, with short examples written out (including simplification of a J.S. Bach unaccompanied sonata movement to look like Corelli’s printed edition). 2545. Pook, Wilfrid. “Thoughts on Corelli,” in The Strad, lxix (1958), 152, 154, 156, 204, 206, 208, 210, 278, 280, 282, and 284. A very personal account of becoming interested in pre-Mozart violin music. Pook gives a brief account of Corelli’s total oeuvre and the gradual return of interest in Corelli’s music. He includes a description of new editions and detailed discussion of the ornamentation. For a discussion of embellishments of Corelli’s sonatas, see articles by Hans Joachim Marx 1302 and David Boyden 1303. For suggestions on performing Corelli’s Op. 5, No. 11, see 2482. For performance suggestions for sonatas for violin + piano by the 18th-century Michael Festing, see Eldon Krantz’s dissertation 1416. For discussion of the bowing, dynamics, trills, cadences, and improvisation of the violin part, and realization of the figured bass in Handel’s violin + keyboard sonatas, see the article by Pook 1492. 2546. Berkley, Harold. “Handel Sonata in D Major,” in Etude, lxix (January 1951), 25 and 53, (March 1951), 25 and 52. Primarily for the violinist, Berkley presents a technical interpretation of the sonata, with bowings, vibratos, and dynamics. Berkley is a pupil of Franz Kneisel. 2547. Kehr, Günter. “Wir studieren eine Hindemith-Violinsonate,” in Melos, xiv (1947), 109–11.

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Kehr attempts to explain to the performer who is wary of performing contemporary music how to go about learning a new piece. The Hindemith sonata is used as an example. For an analysis of the violin + piano sonatas by Hindemith and its effect on performance, see Klement Hambourg’s dissertation 1617. For a discussion on how knowledge of the interval structure in a Kodály sonata affects performance, see Linda Brewer’s “Progressions among Non-Twelve-Tone Sets in Kodaly’s ‘Sonata for Violoncello and Piano, Op. 4’: An Analysis for Performance Interpretation” 1707. For discussion of such performance questions as figured bass realization and ornamentation in the sonatas of Leclair, see Robert Preston’s dissertation 1740, and for another essay on performing Leclair see Appia’s article 1741. Jack Ullom 1786 discusses performance problems (including the nature of the bow and instrument) in the sonatas of Mascitti. 2548. Ohno, Saori Sarina. “The Piano Chamber Music of Maurice Ravel.” DMA dissertation. City University of New York, 2005. DAI lxvi (February 2006) p2771A-2A. 233 pages. A study of the 2 sonatas for violin and piano (1897 and 1923–27) and the piano trio (1914). Ohno presents an historical background to each piece, and then analyzes it with special attention to form and to performance and ensemble issues like balance, rhythm, dynamics, and phrasing. Pedaling and multiple grace notes are problems for the pianist, while intonation and articulation are issues for the strings. This is an aid to performers. 2549. Norden, James Clarence. “Franz Schubert’s Sonata in D Major for Piano and Violin, D.384: A Text-Critical Study.” DMA dissertation. University of Iowa, 1976. UMI 77–3788. DAI xxxvii.8A, p. 4687. 141 pages, 22 examples, facsimile of first edition. After historical and bibliographical data, including errors and variances in manuscripts and editions, Norden gives a critical commentary on pitch and time, articulation, and dynamics to assist performers and teachers in interpreting the sonata. 2550. Fleischhauer, Günter. “Zu einigen Besetzungsfragen im Instrumentalmusikschaffen Georg Philipp Telemanns,” in Eitelfriedrich Thom, ed., Zu Fragen des Instrumentariums, der Besetzung und der Improvisation in der ersten Hälfte des 18. Jahrhunderts, in Studien zur Aufführungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts, Heft 2: Konferenzbericht der 3. wissenschaftlichen Arbeitstagung Blankenburg/Harz 28./29.Juni 1975 (Blankenburg/ Harz: Rat des Bezirkes Magdeburg, c.1975), 33–7.

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Fleischhauer briefly discusses the instruments that Telemann designates for his concertos, orchestral suites, and chamber music. On the basis of Telemann’s own comments and contemporary reports, he makes 3 suggestions: 1) use only the instruments that he designates since he writes idiomatically for them; 2) in the published chamber music, it is perfectly acceptable to substitute instruments when Telemann allows that—like harpsichord with or without cello or cello without harpsichord if the title so says; and 3) flute, violin, and oboe are interchangeable in orchestral works when they are not soli. 2551. Pepper, William Bloomfield, II. “The Alternate Embellishments in the Slow Movements of Telemann’s Methodical Sonatas.” PhD dissertation. University of Iowa, 1973. UMI 74–7418. DAI xxxiv.9A, p. 6027. 365 pages. Telemann published 6 sonatas for violin or flute + continuo, in each of the years 1728 and 1732. Each sonata has a slow movement for which Telemann provided alternate embellishments. Pepper compares the embellishments to the originals in order to devise rules that take into account repeated phrases, polyphony, harmonic syntax, and rhythm. ADVICE ON PERFORMING WIND ENSEMBLES 2552. Baron, Samuel. “The Woodwind Quintet: A Symposium,” in Woodwind Magazine, vi (March–April, 1954), 4, 6, (September 1954) 6–7, 14. A contribution to a symposium on woodwind quintets (see also Barrows 2553 and Schuller 2554). Baron points out the different tone qualities necessary for a chamber music player as opposed to the single, penetrating, brilliant sound of the orchestral woodwind player. He also discusses rhythmic ensemble. 2553. Barrows, John. “The Woodwind Quintet: A Symposium: The Technique of Rehearsal,” in Woodwind Magazine, vi (May–June, 1954), 4–5, 10–11. Barrows runs through typical rehearsal situations experienced while he was part of the New York Woodwind Quintet, beginning with arrival at the rehearsal, tuning, repertory from simple to a new complex work, resolving differences, balance and blend, and so on. 2554. Schuller, Gunther. “The Woodwind Quintet: A Symposium: Specific Charges,” in Woodwind Magazine, vi (March–April, 1954), 5–6 and 10–11. After listening to bad performances of woodwind quintets by excellent performers, the author initiated this symposium (see also Baron 2552 and Barrows 2553). The performance was bad because the

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players did not blend, their sounds were mediocre, and their intonation was poor. Advice on Performing Wind Ensemble Music of Specific Composers 2555. Craft, Robert. “Performance Notes for Schoenberg’s Quintet,” in Woodwind Magazine, iv (June 1952), 6–7 and 15. A discussion of the Wind Quintet Op. 26 (1924) by Schoenberg. Craft considers the value of a conductor for tempo, balance, and dynamics; the form and style; and the suitability for winds. He advises that groups intending to play it should practice as individuals first. It is unnecessary to understand its 12-tone structure, but that does account for its severity. For performance suggestions on modern instruments of the wind sonatas by Daniel Speer, see Mitchel Sirman’s dissertation 2314. 2556. Mazurek, Ronald Casimir. “Compositional Procedures in Selected Woodwind Quintets as Commissioned by the Dorian Quintet.” PhD dissertation. New York Universtiy, 1986. DAI Vol. xlvii (March 1987), p. 3234A. 212 pages. Mazurek examines the process of rehearsing, performing, and recording the following commissioned works: Luciano Berio’s Children’s Play for Wind Quintet, Opus Number Zoo; Lukas Foss’s The Cave of the Winds for Woodwind Quintet; and Jacob Druckman’s Delize Contente Che L’alme Beate for Woodwind Quintet and Electronic Tape. ADVICE ON PERFORMANCE OF OTHER TYPES OF CHAMBER MUSIC 2557. Engberg, Jon. “The Piano Trio: A Pedagogical Tool for the Chamber Music coach.” DMA dissertation. University of Rochester, 1970. For a performer’s discussion of Beethoven’s Piano Trio Op. 70 No. 1, see Delbanco, The Beaux Arts Trio 2683. 2558. Sprissler, Alfred. “Piano Trios and the Student,” in Etude, xliii (1925), 747. Contrary to Adolf Busch 2456, Sprissler thinks piano trios are best for the student who wishes to start ensemble playing. He recommends starting with Mozart K. 502, 542, 548, 564, and 254, beginning with K. 548. He warns students several times to maintain the

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chosen tempo. Then he suggests students move on to Reissiger’s Opp. 25 and 77, Mendelssohn’s Op. 49, and Beethoven’s trios. He urges them always to play the whole trio, not just 1 movement. 2559. Packard, Dorothy R. “Leonard Pennario Talks of the Joys of Chamber Music,” in Clavier, iii (November–December 1964), No. 6, 14–17. Packard starts with Pennario’s statement that he learned more from playing chamber music with Heifetz and Gregor Piatigorsky than from any piano teacher. He reviews Pennario’s career as a chamber pianist, from c.1950 at Tanglewood, and concentrates primarily on his preparations—with Heifetz and Piatigorsky—for concerts and recordings. For example, Packard notes how they tried out in private many forgotten or new trios that were really bad. He stresses the broadening aspects of any pianist in playing chamber music. 2560. DeLuke, R. J. “Cross Currents: Turtle Island and Ying String Quartets Get along Swimmingly on New CD Project,” in Strings, xix, No. 8 (March 2005), 44–9. Discusses the collaboration of the Turtle Island String Quartet and the Ying String Quartet on the recording 4+four. 2561. Bayes, Jack Russell. “The Proposed Use of Improvised Embellishment in the Instrumental Ensemble Music of Giovanni Gabrieli: The Canzone and Sonate from the Sacrae Symphoniae of 1597.” DMA dissertation. University of Washington, 1977. DAI xxxix.2A, p. 531. 119 pages. Bayes suggests embellishments of Gabrieli’s works based on descriptions of improvised embellishments in Girolamo Dalla Casa’s Il Vero Modo di Diminuir (1584) and Giovanni Bassano’s Ricercate Passaggi et Cadentie (1585). For matters related to the performance of the finale of Mozart’s Viola Quintet in D, K. 593, see 1920. For performance suggestions for Purcell’s chamber music, see Thurston Dart’s “Purcell’s Chamber Music” 2015. For performance suggestions for Johann Jakob Walther’s suites and sonatas, see Karen Krout’s dissertation 2384. ADVICE ON PERFORMANCE OF INDIVIDUAL INSTRUMENTS IN CHAMBER MUSIC See Francisco di Caffarelli’s Gli Instrumenti ad Arco e la Musica da Camera 446 in which he discusses the natural and learned ways of playing. 2562. Clarke, Rebecca. “The History of the Viola in Quartet Writing,” in Music and Letters, iv (1923), 6–17.

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Clarke sets out a chronological account of the viola from Haydn and Mozart to 1923, based solely on the use of the viola in a limited number of quartet masterpieces. There is no documentation, and the author demonstrates no skills in musicology, but it is a useful introduction to the problem of the viola in chamber music by a respected performer. 2563. Watson, J. Arthur. “Mozart and the Viola,” in Music and Letters, xxii (1941), 41–53. This is a non-technical discussion of the use of the viola in Mozart’s String Quintet K. 174, Duos for Violin and Viola, K. 423–424, Clarinet Trio K. 498, the Quintets K. 515, 516, 593, and 614, and Divertimento in E-flat, K. 563 (also the Sinfonia Concertante K. 364). 2564. Uscher, Nancy Joyce. “Performance Problems in Selected Twentieth Century Music for Viola.” PhD dissertation. New York University, 1980. DMA xli.6A, p. 2350. 586 pages. Uscher provides an analysis of 8 20th-century compositions with prominent viola parts. The chamber music includes Debussy’s Sonata for flute + viola + harp, Schoenberg’s String Trio Op. 45, Bartók’s String Quartet No. 6, Berg’s Lyric Suite, Hindemith’s String Quartet No. 3, Op. 22, and Boulez’s Le Marteau sans Maître. A group of viola performers was quizzed as to performance problems and possible solutions. The various solutions are compared. Conclusions show that a lot must be done to improve performance practices of contemporary music, and viola literature is important in the 20th century. Uscher shows direct links between historical background and interpretive problems. 2565. Stanfield, M.B. “The Cellist in Chamber Music,” in The Strad, lxiii (1952), 46, 48, 90, 92. Stanfield offers advice for cellists in chamber music: recognize the violinist as leader and be ready to adapt—a difficult role if any individuality is desired. For the amateur who is not experienced, he encourages them to remember to count and mark the first beat of each measure slightly in the cello, to play other than forte or mezzo forte at least some of the time, to play lightly to hear the others, and to exaggerate crescendo and decrescendo. A-string tenor-clef melodies are probably important and should be brought out. Performers should think the main tunes through before playing to have some idea how they should go. If it is possible to practice beforehand, this should be done with a metronome since the cello gives the rhythm. Also, it helps to study the score in advance. Stanfield encourages performers not to lose tone in piano passages—the cello rhythm

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must always be heard; he urges the use of more vibrato and keeping the bow nearer the bridge. 2566. Teplow, Deborah A. Performance Practice and Technique in Marin Marais’ Pièces de Viole, in Studies in Musicology, No. 93. Ann Arbor: UMI Research Press, 1986. MT 145.M37T4.1986. ISBN 08357-1714-3. xi + 156 pages. This essay is aimed at the viol player and student. Based on 17thand 18th-century sources, it is a treatise on how to play the viol in the late-17th century and how to interpret specific works by Marais in his Pièces de Viole (Paris: 1686, 1689, 1701, 1711, 1717, and 1725). A useful glossary explains French terms for ornaments and style. This is a useful contribution for all chamber music in which a viol was the original instrument (solo or as part of the continuo). 2567. Vertress, Julie Anne. “The Bass Viol in French Baroque Chamber Music.” PhD dissertation. Cornell University, 1978. UMI 78–17846. DAI xxxix.4A, pp. 1922–1923. 352 pages. Vertress discusses French secular chamber music with basse de viole obligato, 1695–1740. She considers performance practice, textural functions of the viol, and the solo viol idiom. She traces the rise and fall of the instrument in French chamber music of the time and shows Italian influences on it. She also shows how it was transformed later into the violin sonata. For the performance of the viol in Lawes’ consort music, see 1736 and 1737. 2568. Wölki, Konrad. “Zupfinstrumentenspieler als Hausmusikpartner,” in Hausmusik, xxi (1957), 80–2. Wölki points to the possibilities of plucked string instruments in home chamber music. He notes the advantages, not disadvantages, of its non-sustaining tones, and its use in 18th-century chamber music and again recently. Wölki considers its range and its technique within ensembles. This is aimed at composers and arrangers of chamber music: to show them how to make the guitar, lute, and mandolin work. 2569. Rowland-Jones, Anthony. Playing Recorder Sonatas: Interpretation and Technique. Oxford: Clarendon Press/New York: Oxford University Press, 1992. ISBN 0-19-879002-3. MT350.R69.1992. xiv + 221 pages. A useful guide for the recorder player in interpreting sonatas from the 17th to the 20th centuries. The author concentrates on 5 aspects of performance: sound and expression, dynamics and Italian style, French style and inequality, articulation and slurs, and ornamentation and improvisation. He uses 5 recorder-plus-continuo sonatas of the first half of the

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18th century to demonstrate his points, and then expands on them with additional sonatas from 1620 to 1966. The work is technical with many musical examples, but it also includes information on interpretation that is valuable to non-recorder players and some attractive black-and-white reproductions of paintings. It is carefully written and well documented. For a discussion of ornaments and rhythmic alteration in 18th-century French flute duets, see Walter Jones’s dissertation 360. For a discussion of late-18th-century performance practice in clarinet works, see Dale Kennedy’s dissertation 1345. For a measure-by-measure master-class discussion of Debussy’s Première Rhapsodie for accompanied clarinet, see Dennis Nygren’s dissertation 1334. See also Jennings’s “Selected Twentieth Century Clarinet Solo Literature: A Study in Interpretation and Performance” 1991. 2570. Lawson, Colin James. The Early Clarinet: A Practical Guide. Cambridge/New York: Cambridge University Press, 2000. ML945.L39.2000. ISBN 0-521-62459-2. xiii + 128 pages. While most of the book concerns the clarinet per se, Lawson does analyze chamber music pieces by Handel, Mozart, and Brahms, including their history, sources, and performance practice. He also briefly describes the clarinet repertory in the 18th and 19th centuries. This is written primarily for the clarinet performer. 2571. MacKenzie, Nancy Mayland. “Selected Clarinet Solo and Chamber Music of Darius Milhaud.” DMA dissertation. University of Wisconsin, 1984. UMI 84–13263. DAI xlv.7A, p. 1911. 363 pages. MacKenzie discusses performance of pieces for 5 or fewer performers that are not transcriptions. She includes a history of each piece and analyses that are relevant to performance. For performance suggestions in Alvin Etler’s 2 sonatas for clarinet, see Paul Sheldon’s dissertation 1393. For a discussion of the performance problems (range, registration, articulation, dynamics, fingerings and ensemble) in the clarinet music of Hindemith, see George Townsend’s dissertation 1621. For a study of the performance problems (technique, balance, intonation, tonal matching, projection, articulation, fingers, range) in the clarinet chamber works of the 20th-century Danish composer Bentzon, see Ronald Monsen’s dissertation 1071. For questions of ornamentation and articulation in the oboe of Mozart’s oboe quartet K. 370, see 1935. 2572. Pierce, David M. “The Bassoon in the Woodwind Quintet.” DMA dissertation. University of Illinois, 1986. DAI, 47, No. 09A, (1986): 3235. 344 pages.

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Pierce deals with questions of bassoon fingering and other performance issues. 2573. McAninch, Daniel Arthur. “Technical Problems of the Oboe in the Woodwind Quintet.” PhD dissertation. Eastman School of Music, 1956. v + 172 pages. Reviewed in Council for Research in Music Education Bulletin, No. 4 (Winter, 1965), 64–5. This is a highly specialized discussion for the advanced oboist on special technical problems and their solutions in order to perform woodwind quintets. After a lengthy discussion of the oboe’s idiomatic problems per se (range, tonguing, intervals, trills, tremolos and difficult fingerings, passage work, and physical endurance), McAninch considers the oboe in ensembles (balance and blend, intonation, ensemble, and unison-octave doublings with the other 4 instruments). While all these problems are important, “of utmost importance … is the development of proper concepts of timbre, dynamic levels, and intonation suitable for quintet performance.” The oboist needs “a highly sensitive feeling for tempo and rhythm.” For practical performance suggestions for the trumpet sonatas of Giuseppe Jacchini, see Alexander Pickard’s dissertation 1665. For a discussion of various new techniques required to play contemporary American trumpet chamber music, see the dissertations by James Tuozzolo 387 and Dalvin Boone 384. For some comments on performance of specific trumpet parts from brass quintets, see Michael Tunnell’s dissertation 386. For performance suggestions for tuba ensembles, see Gregory Lonnman’s dissertation 383. 2574. Ford, Luan, and Jane W. Davidson. “An Investigation of Members’ Roles in Wind Quintets,” in Psychology of Music, No. 1 (2003), 53–74. This study focuses on the interactions of the 5 members of a woodwind quintet, with emphasis on the French horn. It is similar in scope to studies of string quartet ensembles by Davidson and Good, but differs in that there is 1 more person in each ensemble, substitute members are frequent, and the 5 instruments represented (flute, oboe, clarinet, bassoon, and French horn) differ widely in timbre and performance technique. A large number of questions were posed and answers were received from 55 people representing 20 ensembles in the United Kingdom. The questions ranged from social interaction with others to gender, the mechanics of playing together, and repertoire. The French horn player required more attention because his/ her timbre is harder to integrate into the ensemble. 2575. Oberdörffer, Fritz. Der General bass in der Instrumentalmusik des ausgehenden 18. Jahrhunderts. Kassel: Bärenreiter, 1939. 781.32. O12G326.1939. ii + 188 pages + xvi (musical examples).

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Since basso continuo practice gradually disappeared during the second half of the 18th century, Oberdörffer studies different genres of instrumental music (including duo sonatas and other chamber music) to determine, first, where in each case the continuo is used or not used and, second, if it used, how it is used, so that modern performances can be truer to the original performances. While studying the continuo textbooks to glean the practice of the continuo is valid for the first half of the century, it is much less significant to do so for the second half of the century since those textbooks become more theoretical than practical. Such textbooks are considered, but they are only part of the documentation of what was actually done during the period. Oberdörffer gives some space to the use of the cello and the right hand of the keyboard player. This is a carefully written, scholarly book that, despite its age, remains basic for anyone concerned with performance practice of chamber music during the period. 2576. Holetschek, Franz. “Das Klavier in der klassischen Kammermusik,” in Österreichische Musikzeitschrift, xiii (1958), 178. Holetschek, who as a pianist has performed with leading European chamber groups, makes a few points briefly: the piano is as important as the strings and should not be treated as second rate, as it often is; the pianist should practice separately with some of the strings, not all, and should work on coordinating phrasing and color with each of the different string instruments. Students of today (1958) are aware of style in chamber music, even in chamber music that is performed far from Vienna, for example in Japan. 2577. Kjemtrup, I. “Greater Than One,” in Pianist, No. 22 (February–March 2005). 62–5. This article is written primarily for the good amateur pianist who wants to play chamber music. It is a normal tendency to want to play chamber music at this stage of a person’s life and, to succeed, he/she needs primarily to be able to keep a steady rhythm and read well. Kjemtrup notes that since AD 2000 the Schubert Ensemble of London has commissioned works written specifically for such amateur groups that include piano, as has Contemporary Music Making for Amateurs since 1993. Canadian Amateur Musicians is also a source for music of this kind. 2578. Stern, Milton. “The Pianist in Chamber Music.” PhD dissertation. Columbia University Teachers College, 1955. DD xxii (1955), p. 245. 930 pages. See Lionel Tertis’s article above 2514.

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2579. Lewis, Enid. “The Piano in Chamber Music,” in Making Music, No. 32 (Autumn, 1956), 7–8. Advice to pianists on how to play chamber music. The pianist must develop all the expressive qualities of the piano and then use them in partnership with the other musician(s). Tone color is especially important; the piano in ensemble with clarinet + cello must play with a different color from an ensemble with horn + violin. Lewis considers different combinations and how this affects the piano. 2580. Sauzay, Eugène. L’École de l’Accompagnement. Paris: Firmin Didot Frères, fils et cie, 1869. Reprint Bologna: Forni Editore, 1972. ML 1100.S29.1972. ix + 269 pages. A mid-19th-century witness to taste and conceptions of chamber music by an important pedagogue and professor at the Paris Conservatory. The second half of the book—“Principles de l’Accompagnement”—is advice, from a teacher of much experience, to piano students for playing ensemble music. Nothing has changed in most of this. The teacher ought to explain to the student what the work is about based on the teacher’s experience, and to direct the student in his/her execution so as to realize the composer’s ideas. The pianist must listen to, hear, and understand what the other player(s) has(ve) to do. There is advice on playing sonatas, on reading music, on how to work on various moods of sonatas, on making good programs, on the minute details of a concert, on nuances and accents, on expression, on performance of older music, on scales, on consonances and dissonances, on modulations, on dealing with mistakes, on fugues, on silences, on ornaments, and so forth. See Kroll in 1026 for how Beethoven played the piano in chamber music. For performance problems in the piano chamber music of Wallingford Riegger, see Elizabeth Buccheri’s “The Piano Chamber Music of Wallingford Riegger” 2050. SUGGESTIONS ON THE USE OF CONDUCTORS FOR CONTEMPORARY CHAMBER MUSIC See Robert Craft’s article on Schoenberg’s quintet above 2555. 2581. Scott, William. A Conductor’s Repertory of Chamber Music: Compositions for Nine to Fifteen Solo Instruments, in Music Reference Collection, No. 39. Westport (CT): Greenwood Press, 1993. ISBN 0-3132-8979-4. ML128.C4.S37.1993. xli + 164 pages. After a discussion as to the need for conductors for some chamber music and the history of such situations, Scott lists the compositions

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alphabetically by composer, with the date of composition, scoring, and publisher. The second part of the guide lists the pieces by scoring. Most of the repertory comes from the 20th-century. This is a practical guide for performers and conducting students. 2582. Bradshaw, Susan. “Whatever Happened to Chamber Music?” in Tempo, No. 123 (December 1977), 7–9. A complaint about the lack of distinction in present-day concert life between chamber and orchestral music. Symptomatic of this is the use of conductors for much new chamber music, especially when the performers are heterogeneous. Bradshaw traces the phenomenon back to Pierrot Lunaire. Such heterogeneous performers do not perform together regularly, so ensemble is lost. ADVICE ON ORNAMENTATION There are several general studies of performance practice that have relevance to chamber music. Among these are Roland Jackson, Performance Practice: A Dictionary-Guide for Musicians (New York/London: Routledge, 2005, ISBN 0-415-94139-3, xxvii + 513 pages; and Colin James Lawson and Robin Stowell, The Historical Performance of Music: An Introduction 2475. 2583. Mersmann, Hans. “Beiträge zur Aufführungspraxis der vorklassischen Kammermusik in Deutschland,” in Archiv für Musikwissenschaft, ii (1920), 99–143. Mersmann questions the scoring of particular chamber works c.1750 and their performance. Scoring concerns not only which instrument is played but also orchestral versus solistic scoring. Performance involves ornamentation, which is the bulk of the article, with numerous musical illustrations. While dated, this is still very useful and an historically noteworthy article. 2584. Conrad, Ferdinand. “Verzierung langsamer Sätze in der Barockmusik,” in Zeitschrift für Hausmusik, xv (1951), 38–44. Conrad presents a careful analysis of the problem of ornamentation in connection with an edition of methodic sonatas by Telemann, which give the ornamentation by the composer himself. Ornamentation must take into account the music and its symbols on the page of music, and also it must follow basic rules from the witnesses of the time. Conrad covers basically 3 issues: the reduction of longer notes into shorter ones by means of expressive ornaments (which are either essential or arbitrary); the distinction between essential and arbitrary ornaments; and the distinction between ornaments clearly called for by signs (French Baroque style) and those that the

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performer can freely choose where and when he/she wants (Italian style). Telemann’s sonatas do not always make clear the distinction between French and Italian styles. Conrad details Telemann’s choice of ornaments. For another study of embellishments in Telemann, see William Peppers’s dissertation 2551. For embellishments in Giovanni Gabrieli’s canzone and sonate, see Jack Bayes’s dissertation 2561. For ornamentation in flute sonatas by J. S. Bach, see John Fenley’s dissertation 2536. 2585. Valasek, Marion Louise. “Flute Quartets from the Second Half of the Eighteenth Century.” MusAD dissertation. Boston University, 1977. UMI 77–21694. DAI xxxviii.4A, pp. 1733–1734. 171 pages. This dissertation describes the preparation of performance editions of flute quartets by Adam Kroll, Franz Anton Schubert (1768–1827), Viotti, Haydn, and Charles Henri Kunze. Valasek gives a history of these quartets within the Viennese classical style, harmonic and formal analyses, performance practice, and ornamentation. For treatment of grace notes in Mozart’s quartet K. 575, see Harold Berkley’s article 2530. For embellishments of sonatas by Franz Benda, see Douglas Lee’s article 1067 and Rudolf Zelenka’s article in 213, pages 62–66. For embellishments of Corelli’s sonatas, see articles by Marx 1302, Boyden 1303, Babitz 2544, and Pook 2545. 2586. Fischer, Klaus. “Zur Ornamentik in frühen Kammermusikwerken Viottis und ihr Bezug zur Aufführungspraxis der Mozart-Zeit,” in Wolfgang Amadeus Mozart: ein Beitrag zum 200. Todestag. Aufführungspraxis – Interpretation – Edition. Konferenzbericht der xviii. Wissenschaftlichen Arbeitstagung Michaelstein, 14. Bis 17. Juni 1990, in Studien zur Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, No. 44 (Michaelstein/Blankenburg, 1991), 37–43. A comparison of the ornaments and their realizations in Mozart’s chamber music with the ornaments in the chamber music of Viotti written during Mozart’s lifetime. DISCUSSION OF TEMPO 2587. Saslav, Isidor. “Tempos in the String Quartets of Joseph Haydn.” DMA dissertation. Indiana University, 1969. RILM 69–1160. 185 pages. Saslav “attempts to establish authentic historical guidelines in one area of 18th-century performance practice, tempo … Correlates in detail the various movements of the quartets with 18th-century

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tempo theory so as to provide the performers of these works, whether professional or amateur, with historically authentic, detailed, and specific information” on their tempos. He uses Landon’s The Symphonies of Joseph Haydn (1955) as a model, though he recognizes conflicting evidence; he does not seek absolute tempos but tempo areas for types of movements following the lead of Erwin Bodky, The Interpretation of Bach’s Keyboard Works (1960). Saslav accepts and rejects large portions of Fritz Rothschild, The Lost Tradition in Music: Rhythm and Tempo in J.S. Bach’s Time (1953) and Musical Performance in the Times of Mozart and Beethoven: The Lost Tradition in Music, Part 2 (1961). This is a thoughtful and well-researched paper. 2588. Gertler, André. “Souvenirs sur Béla Bartók,” in Revue Musicale, No. 224 (1955), 99–110. A famous Hungarian violinist, and a friend of Bartók, who spent much time in Belgium, recalls chamber music performances with Bartók and Bartók’s agonizing over details of his chamber music. Gertler presents a detailed chart of the Fifth String Quartet with precise metronome indications how Bartók wanted the tempos to be and other indications. This is an extremely important document for all string quartet ensembles who play this piece. 2589. Kolisch, Rudolf. “Tempo and Character in Beethoven’s Music,” in The Musical Quarterly, xxix (1943), 169–187 and 291–312. Reprint in The Musical Quarterly, lxxvii (1993), 90–131 and 268–342. Kolisch tries to prove the importance of metronome markings for the interpretation of tempo and character in Beethoven’s music in general. He gives a biography of Mälzel and Beethoven’s relationship to him. Then he deals with the relationships between meter and tempo, Italian-designated tempos and metronome tempos, movement location and form in relationship to tempos. Many chamber works are covered and all are tabulated so that the interpreter can find the appropriate metronome number for any movement of any Beethoven piece. 2590. Lott, Marie Sumner. “‘Iron Hand with a Velvet Glove?’ String Quartet Performance in the Late-Nineteenth and Early-Twentieth Centuries,” in Journal of Musicological Research, xxv (2006), 289+. First, Lott reviews what performers of string quartets in the 1920s (especially Egon Korenstein and Adolf Betti) had to say about performing quartets, and then she compares recordings of Brahms’s Op. 51 Quartets from the 1930s to recordings of the late-20th century. Tempo is the most important matter to Korenstein and Betti, as well as Norton, Stratton and Frank, Alfred Pochon, and Jenö Léner;

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variable tempos within a movement characterize performances in general during the early-20th century, whereas tempos become steady and homogenized by the late-20th century. Recording clips online demonstrate the tempi and also portamento in the earlier performances. Lott does not pass judgment in showing the differences. Despite a few silly errors, this is an important work for all performers of quartets. DISCUSSION OF DYNAMICS See 893 for suggestions on dynamics in the late instrumental works of Beethoven. DISCUSSION OF SCORING 2591. Mueller, Hannelore. “Möglichkeiten der Besetzung des Basso Continuo in der Kammermusik des Barock: Probleme der Kombination von Harmonie-und Melodieinstrumenten,” in Peter Reidemeister and Veronika Gutmann, eds, Alte Musik: Praxis und Reflexion: Sonderband der Reihe “Basler Jahrbuch für historische Musikpraxis” zum 50. Jubiläum der Schola Cantorum Basiliensis (Winterthur: Amadeus, 1983), 272–87. The assumption of the automatic use of a sustaining instrument to support a keyboard or plucked-string instrument in the 17th- and 18th-century continuo is incorrect from the standpoint of particular countries or epochs or the wishes of particular composers, let alone from the color of Baroque music. The instrumentation of the continuo is varied and this variation of timbres is an important part of Baroque music. Mueller systematically studies 17th- and 18th-century Italian, English, German, and French title pages, continuo treatises, instrument manuals and contemporary reports to determine the varieties of realization possible within those national and chronological frames. Many ambiguities remain, but that is the nature of the realization. In late-18th-century music, there is the question of what instrument (or instruments) plays the bass line. For Haydn quartets, see 240, 241, and 242; see also 243. 2592. Bär, Carl. “Zum Begriff des ‘Basso’ in Mozarts Serenaden,” in Mozart-Jahrbuch (1960–1961), 133–55. Does the cello or the string bass or both play the bass line in Mozart’s works when in all cases only “basso” is given? Bär studies this ambiguity in the serenades since all 3 possibilities exist there. In K. 239 a string bass is designated by “violone” and in K. 525 both

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cello and string bass are designated. Bär concludes that in most serenades Mozart meant only the string bass, not the other 2 possibilities. He includes various means of proof, including contemporary descriptions and the functions for which such music was written, the tone quality of the string bass, and comparison with the known examples K. 239 and K. 525. Bär considers orchestral as well as chamber serenades, and the greater number of bassists than cellists in Mozart’s Salzburg. See 1850 for the scoring of serenades and divertimenti by Wolfgang and Leopold Mozart and Michael Haydn. DISCUSSION OF ACOUSTICS 2593. George, William H. “The Acoustics of the Chamber Music Room,” in The Musical Times, lxxii (1931), 123–25. George offers advice to chamber musicians on how to control the acoustics of a small room so as to achieve maximum satisfaction. In a small room, echo does not occur, but a sound may not die as soon as the player stops (reverberation). To deaden or enliven the sound, absorbant material should be put on or removed from the floors or ceilings or walls. What is satisfactory to 1 ensemble may not be so to another, so each musician should know what to do. Less absorbant materials are best near the players, more absorbant materials are better further away. 2594. Shackford, Charles Reeve. “Intonation in Ensemble String Performance: An Objective Study.” PhD dissertation. Harvard University, 1954. DD, xxi (1954), p. 254. ix + 269 pages. A scientific approach to determine how instrumentalists in an ensemble with variable intonation on their instruments play “in tune.” Shackford starts from the elementary over-tone series to demonstrate the problem of intonation, and uses tape recorders, filters, amplifiers, and oscilloscopes to measure the sound. He reviews ancient and Renaissance discussions of the problem and continues with discussions to modern times. He considers especially vibrato. He uses charts, mathematical proportions, and graphs.

V Performers Of Chamber Music

In this chapter, we consider the history and criticism of the performers of chamber music: the groups as groups and the individual artists who form the groups. GENERAL LISTS AND DISCUSSIONS OF PERFORMANCE GROUPS For information on many groups, see Stegmüller 79. The New Grove 7th edition 1 has entries (often very short) on the following groups: String Quartets Aeolian, Alban Berg, Amadeus, American, Arditti, Artis, Bartók, Beethoven, Borodin, Brandis, Brodsky, Budapest, Busch, Calvet, Carmina, Chilingirian, Cleveland, Composers, Concord, Curtis, Czech, Emerson, Endellion, Festetics, Fine Arts, Flonzaley, Griller, Guarneri, Hagen, Hellmesberger, Hollywood, Hungarian (2), Israel, Janácˇ ek, Joachim, Juilliard, Kneisel, Kocian, Kronos, Lafayette, LaSalle, Léner, Lindsay, London, Manhattan, Medici, Melos, Moravian, Mosaiques, Ondricek, Orford, Orpheus, Paganini, Panocha, Parrenin, Petersen, Prague, Prazak, Pro Arte, Rosé, Salomon, Sevcik, Shostakovich, Skampa, Smetana, Stamic, Takacs, Talich, Taneyev, Tel-Aviv, Tokyo, Végh, Vermeer, Vienna Konzerthaus, Vlach, Walden, Wihan Quartet, Ysaye (2) Other Groups American Brass Quintet, Australia Ensemble, Bach-Abel Concerts, Beaux Arts Trio, Busch Chamber Players, Contemporary Chamber Ensemble of 684

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New York, Dorian Wind Quintet, German String Trio, Israel Piano Trio, Melos Ensemble, Nash Ensemble, Netherlands Wind Ensemble, Sestetto Chigiano, Verdehr Trio Important Chamber Musicians Adolf Busch, Josef Joachim, Rudolf Kolisch, William Kroll, Arnold (Josef) Rosé, Josef Suk (i), Walter Trampler, and Sándor Végh, among many others. For other general lists of performing groups see 197, 200, and: 2595. Chamber Music America: Membership Directory 1985. New York: Chamber Music America, 1985. ML 19.C5.1985. iv + 41 pages. Separate lists of ensembles, promoters, festivals, training programs, chamber orchestras, schools and programs, service organizations, managers, businesses, and individuals who are members or associate members of CMA are given alphabetically by state and by city within each state. Each entry includes title, address and phone, and description. There is a general index and an index by type of ensemble. The list is updated annually. 2596. American Chamber Music Players, Inc. 1986–1987 North and Central American Directory. New York: ACMP, 1986. 111 pages. This directory lists amateur chamber players alphabetically by state, province, and country, with addresses, telephone numbers, instrument(s) played, and ability. This American directory is issued every other year. In alternate years, an overseas directory is issued. Address: 215 Park Avenue South, New York, New York 10003. 2597. Washington Amateur Chamber Music Directory. Fairfax (VA): Music Friends of Fairfax County Public Library, 1988. 240 pages. 2598. Marcan, Peter. British Professional Violinists of Today: A Directory of Achievement, Current Activity, and Their Related Ensembles. London: Peter Marcan Publications, 1994. ISBN 1-8718-1109-0. ML21.G7B75. 1994. xiv + 102 pages. Marcan provides a useful alphabetical list of professional British violinists, many of whom are or have been active in chamber music ensembles. Gives addresses, telephone numbers, education, professional appointments, and a few other details of their lives. For descriptions of French chamber groups 1828–1871, see Jeffrey Cooper’s dissertation and book The Rise of Instrumental Music and Concert Series in Paris 1828–1871 563. For citation of specific performing groups in Hamburg in the 19th century, see Emil Krause’s Die Entwicklung der Kammermusik

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582. For information on Canadian performers of chamber music of the 19th and early-20th centuries, see Marcus Adeney’s “Chamber Music” 493. For a history of Soviet chamber ensembles, see Raaben 649. DISCUSSIONS OF MULTIPLE CHAMBER GROUPS, ESPECIALLY STRING QUARTETS For extensive information on the French chamber violinists from Lully to Viotti, see La Laurencie’s L’École Française de Violon de Lully à Viotti 322. 2599. Drees, Stefan. “Musik auf vier mal vier Saiten: StreichquartettFormationen im Internet,” in Neue Zeitschrift für Musik: das Magazin für neue Töne, clxvii, No. 2 (March–April. 2006), 53–4. A brief discussion of the web sites of the Arditi, Kronos, and Kairos Quartets, the Modern and Leipzig String Quartets, and Quatuor Bozzini. 2600. Lindgren, Lowell. “Italian Violoncellists and Some Violoncello Solos Published in Eighteenth-Century Britain,” in Music in EighteenthCentury Britain, ed. David Wyn Jones (Aldershot: Ashgate, 2000), 121–57. Lindgren writes about cellists (mostly playing as accompaniment), about the term “violoncello,” and about the “solo” cello pieces (with continuo)—mostly sonatas—published in London at this time. 2601. Payne, Albert H. (pseud. W. Ehrlich). Das Streich-Quartett in Wort und Bild. Leipzig: A.H. Payne, [1898]. ML 398.P196S8. vii + 83 pages. A major source of information on and portraits of 19th-century string quartets. Payne features 40 quartets (treats Joachim’s London and Berlin quartets as 2) and a Leipzig sextet. A page of biographical and historical information about each quartet is followed usually by a full-page photo. Payne includes the Soldat-Roeger female quartet. 2602. Payne, Albert H. (pseud. W. Ehrlich). Berühmte Geiger der Vergangenheit und Gegenwart: eine Sammlung von 88 Biographien und Portraits. Leipzig: A.H. Payne, 1893. ML 398.P19. xi + 316 pages. 2nd ed. 1902. ML 398.P192. xiv + 350 pages (104 biographies and portraits). 3rd ed. trl. into English by Robin H. Legge. London: The Strad/Boston: O. Ditson, 1913. 287 pages. The London edition is in The Strad Library, No. 4. ML 398.P195.1913. This is a major source for information on mostly 19th-century violinists, many of whom played in quartets (such as Heinrich Karl

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Hermann de Ahna [1771–1842, second violinist of the Joachim Quartet], Pierre Marie François Baillot de Sales, Karl Louis Bargheer, and so on). 2603. Bachmann, Alberto. Les Grands Violinistes du Passé. Paris: Librairie Fischbacher, 1913. ML 398.B2. vi + 469 pages. This book contains 40 chapters, each devoted to a violinist or a family of violinists. The chapters are arranged alphabetically from Delphin Alard to Wilhelmj, each with portraits, biography, bibliography, and in some cases thematic indices. Nearly all the violinists composed and/or performed chamber music. See Antoine Vidal’s Les Instruments à Archet 70. For an enormously valuable source book for information on string quartet performers from the 1820s to the 1920s, see Ivan Mahaim’s Beethoven 969. For a glimpse of the activities of the quartets in Vienna 1824–1825, see 977. Dermot Darby 658 describes American chamber ensembles up to the beginning of the 20th century. For Canadian string quartet ensembles, see 497. 2604. Bachmann, Alberto. An Encyclopedia of the Violin. Ed. Albert E. Wier; trl. Frederick H. Martens. Introduction by Eugène Ysaÿe. New York/London: D. Appleton, 1925. Repr. New York: Da Capo, 1966, with new introduction by Stuart Canin. ML 800.B13. ISBN 0-306-70912-0. xiv + 470 pages, 78 illustrations (mostly portraits and violins). Here are 25 chapters, each devoted to a different aspect of the violin: “The Origin of the Violin,” “Violin Makers in Europe,” “Violin Teaching and Study,” “How to Practice,” “Analyses of Master Violin Works,” “Biographical Dictionary of Violinists,” and so on. Of particular concern for chamber music are chapters 19, “Chamber Music” and 25, “A List of Music for the Violin.” Chapter 19 is useless for its history of chamber music but valuable for its list of 51 international string quartets and 2 quintets, with portraits of some and a brief description of each. Chapter 25 lists music generically, starting with études and eventually including a huge amount of chamber music from duets for violin + cello to octets. This book is not scholarly and not completely trustworthy, but it is useful and important for student violinists. 2605. Pincherle, Marc. Les Instruments du Quatuor. Paris: Presses Universitaires de France, 1948. 3rd ed. 1970. ML 750.P5.1970. 128 pages. Much of the discussion is treated better elsewhere, such as descriptions and histories of the violin, viola, cello, and string bass as instruments, and the history of string quartet music. This book is most

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valuable for its discussion of quartet ensembles, from the Schuppanzigh Quartet to the Capet, mentioning such others as the Jansa, Hellmesberger, Rosé, Baillot, Tilmant, Chevillard-Alard, Arvinrent (Eduard Lalo as violist), Koella, Müller Brothers, Joachim, Italian, and Hungarian quartets. For a discussion of the leading ensembles in Vienna 1890–1910, see 484. For Czech string quartet ensembles since 1891, see 504. 2606. Mlejnek, Karel. Smetanovci, Janáckovci a Vlachovei. Prague: Státní Hudební Vydavatelství, 1962. ML 1122.M6. 154 pages. A history of the Smetana, Janácek, and Vlach Quartets. It includes photos, concert schedules, foreign tours, repertory, and discography. 2607. Gennadiev, B. “Sorevnuyutsia Kvartete,” in Sovetskaia Musyka (1984), No. 4, 136–37. In Russian. Gennadiev writes about a competition between Soviet quartets entitled Borodin Competition in Tallinin (Estonia) in October, 1983 and describes the winners and interpretation problems. See Jan Boublìk’s “Czech Chamber Ensembles” 503 for string chamber groups in Czechoslovakia since World War II. 2608. Wigmore, Richard. “Out of This World: String Quartets Were Once Seen as Elitist and Unapproachable. Now They’re Perhaps the Most Exciting Area of Classical Music,” in Gramophone, lxxxiii, No. 1004 (April 2006), 18–19, 21–3, 25. A brief annotated list of many of the most vital new string quartet ensembles that have enlivened quartet concerts since the 1980s. The phenomenal rise in such groups points to the need by young listeners to hear new, intimate music built on a tightly controlled medium that takes into account the kinds of music that they hear in other media. Wigmore conducted interviews with members of some of these ensembles to find out what they have done to gain this new, enthusiastic audience. Haydn, Mozart, and Beethoven are not ignored but built upon. 2609. Eisler, Edith. 21st-century String Quartets. San Anselmo (CA): String Letter Pub., 2000. ISBN 1-890490-156. 127 pages. Eisler presents a biographical discussion of 11 well-known string quartet ensembles performing at the end of the 20th century: Emerson, American, Juilliard,Tokyo, Borodin, Manhattan, St. Petersburg, Mendelssohn, Orion, Guarneri, and Mandelring String Quartets. Brief biographies of the members of the ensembles are given alongside

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capsule histories of the groups, their repertories, their recordings, and interviews. There are several photographs of each group. This is listed as Volume 1 but no subsequent volumes are known. 2610. Tsibiu, G. “Forum Kamirnoi Musyki v Plovdive,” in Sovetskaia Musyka (1980), No. 3, 125–28. In Russian. Tsibiu writes about a Bulgarian chamber music festival with participation by Czech, German, Italian, Soviet, and other ensembles (some chamber, others chamber orchestra). Tsibiu gives highlights of the festival, and some criticism of the groups. 2611. Wiersema, Lies. Op zoek naar de historische uitvoeringspraktijk van strijkkwartetmuziek in Nederland. Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 2005. ISBN: 9063752113. 132 pages. This is a history of 2 performing Dutch ensembles—The Netherlands String Quartet and the Esterházy Quartet. Wiersema gives a biography and an analysis of the performance ideals of 1 member of both groups (Jaap Schröder, a violinist) and an explanation of the special performance style of the latter ensemble, which entails a discussion of early music performance practice. In the 1950s and 1960s, Schröder was performing simultaneously the standard quartet literature on the modern violin in The Netherlands Quartet and Baroque music on period instruments in early music ensembles; so in 1971 he conceived the idea of combining the 2 practices. Thus the Esterházy Quartet played the early string quartet literature (especially Mozart, Haydn, and Boccherini and also Beethoven, Op. 18) on period instruments; it flourished from 1972 to 1982 and was successful both in Europe and America. Wiersema chronicles the entire lifespan of the quartet, listing concerts and programs. Wind Ensembles 2612. Semple, Arthur E. “The Making of the Flute Literature: Some Composers and their Flutist Friends,” in Woodwind Magazine, ii (September 1949), 4, (October 1949), 4, 11, (November 1949), 6. Semple emphasizes the influence of great flute players on great composers who write for the flute. He includes the influence of Karl Weidemann and Quantz on Handel and C.P.E. Bach, of J.P. Wendling on Mozart, of Doppler on Schubert, of A.B. Fürstenau on Weber, of Boehm on Molique and Rossini, of Degenart on Beethoven, and others. Many of the compositions that result from this influence are chamber music pieces that include the flute.

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2613. Baron, Samuel. “The Rebirth of the Woodwind Quintet in America: Looking Back from the Forties to Today,” in American Ensemble, vi, No. 3 (1983), 15–17. This is an important article by a leader in the growth of woodwind quintets in America since the late 1940s, explaining the problems he encountered and goals he set forth. He notes the new groups that have been organized and the new compositions they have stimulated. See 358 for the history of saxophone ensembles, especially the quartet. 2614. Pilka, Jiri. “Czech Creativity for Brass Ensembles,” in Music News from Prague, No. 3–4 (1983), 3. Pilka presents a brief discussion of current Bohemian ensembles of brass players (horn quartets, brass quintets, trombone ensembles, and so on) and compositions written for them, organized from duets to quintets, from the 1950s to the 1970s. STUDIES OF INDIVIDUAL PERFORMING GROUPS String Quartets For a catalogue of all known string quartet ensembles from 1766 to 2006, see 79. 2615. Nelson, Kathleen E. “The Adelaide String Quartet Club and the Vocal Element 1880–1891,” in Miscellanea Musicologica, xv (1988), 143–52. This article is about a music club in Australia. 2616. Burton-Page, Piers. “The Allegri at 50: A Quartet in 5 Movements: A 50th Birthday Celebration of the Allegri String Quartet.” DMA dissertation. Juilliard School, 2004. MT131.B113ps. 37 pages. 2617. Snowman, Daniel. The Amadeus Quartet: The Men and the Music. London: Robson Books, 1981. ML 421.A44S6. 160 pages, 45 photos, 16 document facsimiles, discography, and 13 examples. Snowman gives biographies of the 4 members and a discussion of the musical climate of London from 1940 to 1980 from the perspective of chamber music. He supplies a diary of the activities of the quartet from September to December 1979, and a general evaluation of its work. Especially important is the quartet’s association with Benjamin Britten. For the Amar String Quartet, see 848 and 2618. Winkler, Gerhard E. “Hindemith im Visier,” in Hindemith Forum, xii (2005), 13–19. In German, English, and French.

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An interview with the members of the present-day Amar Quartet that also includes a discography of the original Amar Quartet. Hindemith’s quartets form a basic core of the present-day Amar’s repertory, and audiences usually are pleased when they hear them. 2619. Devich, Marton. “A hosszu kvartettelet titka: Komlos Peter a negyvenot eves Bartok Vonosnegyesrol” [The Secret of the Long Life of a String Quartet: The 45-year-old Bartók Vonosnegyes], in Muzsika, xlvi (January 2003), 4+. A profile of the Bartók Vonosnegyes, which was founded in 1957. The quartet’s first violinist, Peter Komlos, is interviewed. 2620. “Betchoventzam-60!” in Sovetskaia Muzyka (1983), No. 12, 62–3. In Russian. A short description and history of the Beethoven Quartet started in 1923, which since 1943 has had an unchanged membership. The article includes a photo of the quartet. 2621. Shochman, G. “Radost Vzaimobonimania,” in Sovetskaia Muzyka (1984), No. 2, 52–60. In Russian. An interview with the Borodin Quartet, which covers history, conception of quartet playing, repertory, and style. This is the Borodin Quartet that was founded after the defection of the original members in the 1970s. 2622. Kuehn, F. “Brodsky-Quartett,” in Stereoplay, No. 7 (July 1989), 138–40. 2623. Brandt, Nat. Con Brio: Four Russians Called the Budapest String Quartet. New York: Oxford University Press, 1993. ISBN 0-19508107-2. xvi + 272 pages. 2nd ed. Lincoln (NE): Authors Choice Press, 2001. ISBN: 0-5950-10113. A personal account of the 6 persons (allowing for changes in second violin) who comprised the most famous string quartet ensemble from the late 1930s to the early 1960s. Written by the son-in-law of the quartet’s violist, Boris Kroyt, the book is aimed at laypersons and is not a scholarly account. See also the review by Abram Loft in NOTES, l (1994), 1444–5. 2624. Wechsberg, Joseph. “The Budapest,” in The New Yorker, xxxv (November 14, 1959), 59–60, 62, 64, 67, 69–70, 72, 74, 76, 78–80, 82, 87–9, 91–2, 94, 97–8, 100–2, 104, 106, 108–12. Wechsberg gives a lengthy biographical account of the Budapest Quartet and its 4 principal members: Boris Kroyt, Alexander and

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Mischa Schneider, and Joseph Roisman. After a brief attempt at defining chamber music and giving a history of the string quartet, he concentrates on the Budapest Quartet. Wechsberg interviews each member and his wife (if married), and produces a lot of data on this famous ensemble. This should be a starting point for any critical evaluation or history of the group. 2625. Kennedy, Paula. “The New Budapest String Quartet,” in Strad, ci (April 1990), 282–4. 2626. Hruby, Frank. “The Cavani String Quartet,” in Musical America, cxi (1992), 44–5. 2627. Eisler, Edith. “The Cleveland Quartet in Conversation,” in Strings, v (1990), 58–66+. 2628. Kvet, J.M. Zpametí1Ceského Kvarteta. Prague: Edice Corona, 1936. HML 196.45.103. 136 pages. In Czech. Kvet gives various anecdotes concerning the Czech Quartet, its members, and its interactions with such persons as Brahms, Dvorák, Tolstoy, and Cosima Wagner; he includes Josef Suk’s comments on Beethoven. The book contains photos. 2629. Sullivan, Elizabeth Way. “German Nationalism and the Reception of the Czech String Quartet in Vienna.” In Nineteenth-Century Music: Selected Proceedings of the Tenth International Conference, Jim Samson and Bennett Zon, eds (Aldershot/Burlington (VT): Ashgate, 2002, ISBN: 0-7546-0205-2), 296–313. Sullivan looks at why and how the great Czech String Quartet from Prague was received by the German nationalists in Vienna from 1893 to the beginning of the 20th century. The choice of an ethnic name rather than the name of the first violinist was not entirely new—the Florentine Quartet had been formed 20 years before—but it was also a statement that all 4 players were equal, not dominated by the first violinist. This style of playing was, in general, highly prized by most in Vienna, who were used to such ensembles as the Rosé Quartet. 2630. Ginzburg, Lev. “The ‘Czech Quartet’ in Russia,” in Malcolm Hamrick Brown, Russian and Soviet Music: Essays for Boris Schwarz (Ann Arbor: UMI Research Press, 1984), 201–209. ML 55.S398.1984. Originally published in Czech in Ceská Hudba Svétu, Svét Ceské Hudbé (Prague: 1974). See Ginzburg’s book on the same topic, Ganush Vigan i Cheshskii Kvartet [Hanus Wihan and the Czech Quartet] (Moscow: 1955). A history of the early years of the Czech ( = Bohemian) Quartet, organized c.1891 at the Prague Conservatory under cellist Hanus

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Wihan: Karel Hoffmann (1872–1936), Josef Suk (1874–1935), Oscar Nedbal (1874–1920), and Otakar Berger (1873–1897). Wihan succeeded Berger for most of the remaining time-span included in this essay. Ginzburg stresses the quartet’s appearances in Russia (12 times from 1895 to 1912); using letters and reviews, he describes the concerts and the quartet’s reception by the audiences. He discusses repertory (it regularly performed Borodin, Tchaikovsky, Glazunov, and Taneev, as well as Dvorák, Smetana, Beethoven, and Schubert). He mentions the relationship of the quartet to Lev Tolstoy, at whose home the ensemble performed, and to the Belaiev circle. 2631. Herbort, Heinz Josef. “Wir müssen Idealisten sein: das Star-Ensemble der Zukunft: das Emerson String Quartet aus New York,” in Die Zeit, xl (September 28, 1984), 49. A description of a performance by the quartet and a history of the quartet including family backgrounds and the instruments played by the members. The name “Emerson” was picked in 1976 from Ralph Waldo Emerson, the famous American poet. Herbort points out a peculiarity of this group: the 2 violinists alternate on first and second parts. 2632. Emerson String Quartet. Converging Lines: The Extraordinary Story of the Emerson String Quartet’s First 25 years. London: Risk Waters Group, 2001. ISBN 1-8993-3268-5. 77 pages. An autobiography of each of the 4 members of the Emerson String Quartet and a history of their collaboration as the Emerson String Quartet from 1976 to 2001 (there was a change of violoncellists in 1979). 2633. DeRemer, Leigh Ann. Contemporary Musicians: Profiles of the People in Music. Vol. xxxiii. Famington Hills (MI): Gale Group/ Thomson Learning, 2002. A profile of the Emerson String Quartet. 2634. Mason, Daniel Gregory. “The Flonzaley Quartet,” in Music in My Time and Other Reminiscences (Freeport [New York]: Books for Libraries Press, 1938, reprinted 1970), 48–162. ML 410.M397A2. Anecdotes from and on the Kneisel Quartet, a discussion about the lack of taste of American audiences, and an essay on the Flonzaley Quartet, its members, their personalities, their championship of new music, and their correspondence with Mason. He also writes about the de Coppet musicales from October 1886, describing the amateurs who participated and the social events. Mason disparages Stravinsky and Schoenberg and claims that the Flonzaley Quartet succeeded

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with much more difficult music by Mozart. This is a highly personal and opinionated account by an important American witness. 2635. Parker, Henry Taylor. “The Righteous ‘Flonzaleys,’” in Eighth Notes: Voices and Figures of Music and the Dance (1922; reprinted Freeport [New York]: Books for Libraries, 1968), 175–83. ML 60.P175.1968. A tribute to the greatness of the Flonzaley Quartet and what it has accomplished in ensemble and repertoire. Parker mentions the patrons of the time and the members of the quartet. 2636. Schafer, Kimberly Ann. “From Conservatism to Modernism through the Music of the Flonzaley String Quartet.” MM report. University of Texas at Austin, 2004. vi + 69 leaves. 2637. Nembrini, Alissa. “Four of a Kind (Flonzaley Quartet).” Classic Record Collector, xliv (Spring 2006), 18–24. A brief but excellent overview of the history of the Flonzaley Quartet, its members, its patrons, its repertoire, and its recordings. See 1160 for how Brahms worked with the Florentine Quartet. 2638. Ruttencutter, Helen Drees. Quartet: A Profile of the Guarneri Quartet. New York: Lippincott and Crowell, 1980. ML 398.G83. ISBN 0690-01944-0. ii + 153 pages. Originally “Profiles: String Quartet,” in The New Yorker, liv (October 23, 1978), 45–131 (some interruptions for advertisements). A lengthy, in-depth interview with the Guarneri Quartet and a description of its personnel, a recording session, and a rehearsal. Ruttencutter also briefly outlines the history of string quartets in America and their situation in 1978. This is a piece of popular writing, not scholarly or particularly well-informed on general matters, but it does give excellent coverage of the Guarneri. The book is an updated and expanded version of the New Yorker article, with discography. See also 2499. 2639. Blum, David. The Art of Playing: The Guarneri Quartet in Conversation with David Blum. London: Gollancz, 1986/New York: Cornell University Press, 1987. 270 pages. 2640. Blum, David. “The Guarneri Quartet at 25,” in The Musical Times, cxxxi (December 1990), 642–3. 2641. Zagorski, William. “The Guarneri Quartet: Twenty-five Years of Music-Making and Going for Gold,” in Fanfare, xiv (1990), 528–36. 2642. Eisler, Edith. “The Guarneri Quartet,” in Strings, vii (1992), 37–41.

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2643. Steinhardt, Arnold. “Arthur Rubinstein and the Guarneri String Quartet.” The Rubinstein Collection. New York: BMG Entertainment, 1999. 2644. Haeften, Dorothea von. The Guarneri String Quartet: Past, Present, Future. New York: Lundquist Design, 2001. 2645. “The Havlák Quartet,” in Music News from Prague (1983), No. 2, page 8. A brief account of this young Czech string quartet, formed in 1976. See 1160 for Brahms’s relationship with the Helmesberger and Joachim String Quartets. See 2512 for an inside view of how the Hungarian Quartet rehearsed in 1923. 2646. Gay, Harriet. The Juilliard String Quartet. New York/Washington/ Hollywood: Vantage Press, 1974. ML 398.J84. ISBN 0533-01322-4. vi + 89 pages, 38 photos. A subjective, adulatory, non-scholarly history of the quartet organized at William Schuman’s instigation at the Juilliard School in 1945. It is basically a collection of long interviews with Schuman and the members of the quartet. There are some factual errors and inconsistencies. Gay provides biographies of the 4 members as of 1972: Robert Mann, Claus Adam, Samuel Rhodes, and Earl Carlyss. She gives a description of the personal side of tours and Library of Congress concerts. 2647. Hoffman, Eva. “Juilliard: A Renewed Quartet,” in The New York Times Magazine (October 5, 1986), 28–29, 32, 34, 36, 38. An interview with and observation of the quartet similar to 2646, but now with Joel Smirnoff and Joel Krosnick replacing Claus Adam and Earl Carlyss. Hoffman recounts how Smirnoff was selected. 2648. Eisler, Edith. “The Juilliard String Quartet,” in Strings, iv (1990), 42–50. 2649. Kahn, Anna Patricia. “Juilliard String Quartet,” in Focus (April, 1996). Trl. by Erich Hartmann, in Colbert Artists Management Inc. flyer. A brief account of the first violinist, Robert Mann, and some anecdotes about present and former members of the group. 2650. Pincus, Andrew L. “The Juilliard String Quartet: Long Live the Revolution.” Musicians with a Mission: Keeping the Classical Tradition Alive, (Boston: Northeastern University Press, 2002), 185–228. A series of anecdotes about and by former and present members of the quartet. They recount more than 50 years of performing difficult

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contemporary music as well as traditional classics, and they compare the Juilliard Quartet to the Budapest and other famous ensembles. 2651. Harp, D. “Recalling the Kolisch String Quartet: Interview with Eugene Lehner,” in Chamber Music, v (1988), 19–21+ n1 2652. Maurer Zenck, Claudia. “Three essays on the history of the Kolisch String Quartet, 1921–1944,” in Österreichische Musikzeitschrift, liii (November 1998), 8–57. The first half of this issue of the Österreichische Musikzeitschrift is devoted to the Kolisch Quartet, including most importantly Maurer Zenck’s 3 essays: 1) “Das Kolisch-Quartett” (pages 22–9) deals with Kolisch’s studies with Schönberg, Schreker, and Otakar Sevcik, the founding of the Verein für musikalische Privataufführungen by Alban Berg, and the creation of the quartet to prepare Berg’s Op. 3; 2) “Das Kolisch-Quartett in den USA” (pages 30–42) shows how Kolisch was always searching for new members of the quartet and how he developed an important plan of success that any quartet should follow (artistic quality, financial security so that rehearsals can be peaceful and concentrated, a good agent, and personal harmony among the players); and 3) “Das unaufhaltsame Ende des Kolisch-Quartetts” (pages 43–57) recounts the turbulent war years from 1939 to 1944 when America was saturated with outstanding European quartets and quartet musicians, all jockeying for positions and income. The history ends with Kolisch joining the Pro Arte Quartet in Madison, Wisconsin in 1944 as leader and, although the name “Kolisch Quartet” disappeared, he was able to shape the old Belgian ensemble in his own mold. This is a well-documented, basic study, not only about the Kolisch Quartet itself but about chamber music in general in Europe and America during the years 1921 to 1944. 2653. Potter, Tully. “Four for Schoenberg (Kolisch Quartet),” in Classic Record Collector, xlviii (Spring 2007), 29–35. A history of the various quartets that Kolisch led from 1921 to 1967, from Vienna to Madison, Wisconsin. Potter mentions the continually changing personnel, the premiers of many Berg, Webern, and Schoenberg works, and the recordings. On September 13, 1927, Kolisch’s quartet performed the finale of Beethoven’s Op. 59, No. 3 without using music, which started a trend imitated by the Smetana Quartet and Quartetto Italiano. Kolisch stood out as the only violinist to bow with his left arm and finger with his right hand. 2654. Davidian, R. Kvartet imeni Komitasa. Erevan: Izdatelstvo Aëastan, 1974. HML 279.91. 96 pages.

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A history of the Komitas Quartet founded in 1924 by A.K. Gabrialian (b.1899), who was still with it in 1974. Davidian provides biographies and photos of all the members of the quartet during its 50-year history. 2655. Berko, Mikhail. “Vtoraya Molodost ‘Kometagovtsev,’” in Sovetskaia Muzyka, (1985), No. 11, 51–3. A description and history of the Komitas String Quartet from Armenia. The article includes a photo of the quartet. 2656. Taylor, H. “A Kronos Quartet Retrospective: 25 years of Experimentation,” in Strings, xiii (February–March 1999), 127–8+. 2657. Headlam, Dave. “Re-Drawing Boundaries; the Kronos Quartet,” in Contemporary Music, xix (2000), 113–40. A lengthy and informative history of the Kronos ensemble and a discussion of their repertory, primarily from their recordings. Headlam finds their performances not particularly postmodern but world minimalist. They perform all sorts of contemporary music with an emphasis on crossover and audience participation. This article is written for the layperson as well as the specialist. It includes a bibliography and footnotes. 2658. Rounds, David. The Four and the One: In Praise of String Quartets. Fort Bragg (CA): Lost Coast Press, 1999. ISBN 1-882897-26-9. ML1160.R68.1999. x + 195 pages. Here we have a non-professional writing music history for nonprofessionals; the value of the book lies in its extensive interviews with the members of the Lafayette String Quartet about what life as string quartet players (in this case, all women) is like. The historical introduction glosses over many controversial points, and the author relies on popular rather than scholarly studies. For absolute neophytes, this may be a starting point. 2659. Molnár, Antal. A Léner-Vonósnégyes, in Nagy Magyar Elöadómüvészek, No. 6. Budapest: Zenemökiadó, 1968.HML 279.75. 36 pages. A history of the Léner Quartet (fl. 1919–1939). It opens with an essay on chamber music history and on chamber music in the concert hall; there are then essays on new chamber music developments, on financial questions, and finally on Jenó Léner and the Léner Quartet. 2660. Borovik, M. Kvartet imeni Lesenka (do 25-Richya Vekonavs’koe Diial’nosti). Kiev: Musika Ukraina, 1976. HML 279.97.3. 79 pages. Enl. ed. N. (sic!) Borovik. Kvartet imeni Lesenko. Kiev: Musika Ukraina, 1980. HML 279.97. 96 pages. In Russian.

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A study of the Lesenka String Quartet from the Ukraine, founded in 1951 by members of the Ukrainian State Philharmonic. Borovik gives a repertory (extensive, including many Soviet composers unknown in America) and also gives cities in which it has played, and biographies of the musicians. The quartet is named after Mykola Lysenko, a Ukrainian composer of string quartets. 2661. Bagdanskis, Jonas. The Lithuanian Musical Scene, trl. Olimpija Armalyt. Vilna: Mintis Publishers, 1974. HML 198.48.14. Bagdanskis gives brief accounts of the Lithuanian String Quartet (founded 1945; see 2662 for another date) and the Vilnius String Quartet (founded 1968) with membership, accomplishments, repertory, tours, and photos. 2662. Katkus, Donatus. Lietuvos Kvartetas. Vilna: No. publ., 1971. HML 196.48.9. 128 pages. In Lithuanian with brief Russian and English summaries. A history and documentation of the Lithuanian String Quartet with many photos and information on all members, past and present. It was founded in 1946 (see 2661); the book commemorates 25 years. 2663. Parker, Henry Taylor. “The Zestful Londoners,” in Eighth Notes: Voices and Figures of Music and the Dance (1922; reprint Freeport [New York]: Books for Libraries Press, 1968), 184–6. Parker writes about a visit to New York by this London-based quartet, which has more emotional fire than the Flonzaley Quartet and recalls the Kneisel Quartet in its earliest years. 2664. Mullins, Shirley Strohm. “The Manhattan String Quartet,” in The Instrumentalist, xlii (December 1987), 12–18. 2665. Eisler, Edith. “Taking Shostakovich to Russia,” in Strings, vi (1991), 53–60. Eisler writes about some of the experiences of the Manhattan Quartet. 2666. Eisler, Edith. “The Mendelssohn String Quartet,” in Strings, vii (1993), 49–57. 2667. Vratislavsky, Jan. Moravské Kvarteto, 1923–1955. Prague: Kniznice Hudebnich Rozhledni, 1961. ML 1151.C95M7. 130 pages. In Czech. A history of the Moravian Quartet from 1923 to 1955, including lists of works performed, premiers given, tours, and biographies. 2668. Köhler, Louis. Die Gebrüder Müller und das Streich-Quartett. Leipzig: Heinrich Matthes, 1858. ML 398.K72. 50 pages.

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A long essay paying homage to the Müller family quartets. Köhler concentrates on the tastes of quartets and of audiences during the first half of the 19th century and at the moment when the book was published (1858) and on the performances of the Müller brothers. He gives some biographical information on both the older and younger Müller Quartets. 2669. Bakicova, Veronika. Musica aeterna & Jan Albrecht. Bratislava: AEPress, 2006. ISBN 808888070X. 211 pages. Bakicova provides a history stretching over more than 30 years of the Musica Aeterna ensemble of Bratislava in the 20th century. 2670. Solare, Carlos María. “Aiming for Perfection,” in The Strad, cx (May 1999), 462–3+. Story of the Petersen Quartet. 2671. Malderen, Anne van. “Historique et apport des diverses formations Pro Arte (1912–1947) au répertoire de la musique contemporaine.” Licenciée thesis. Université Catholique de Louvain-la-Neuve, 1998. 2 vols. ML421.P76M27.1998. 177 pages; 120 unnumbered pages. The most detailed history of any string quartet ensemble. It covers the history of the Belgian Pro Arte Quartet from its beginnings to the departure of the last Belgian member in 1947. Volume 1 deals with the precursors, contemporaries, and successors of the Pro Arte Quartet, the birth and career of the ensemble from Belgium to Madison, Wisconsin, and the lives and careers of the members of the quartet (Kolisch, however, is almost completely ignored). Malderen then talks about the programs played, the nationalities of the composers, and the recordings. Volume 2 includes charts not only of the Pro Arte but also of many other quartets, indices of works performed over the entire span of the quartet with details, documents such as letters from the University of Wisconsin, Ernst Krenek, and members of the quartet, sample programs, and a facsimile of “Quatre Pièces” for string quartet dedicated to the Pro Arte by Louis Gruenberg in 1922. Volume 1 contains a number of photographs of the quartet. 2672. Ris, A. “Imeni Prokoféva,” in Muzikalnaia Zhiz’n (1986), No. 5, page 7. Ris writes about the Prokofiev Quartet in Moscow, an all female quartet formed about 30 years ago. He gives a review of a concert and discusses their style of playing. 2673. “New Friends of Music,” in Musical America, lxxi (December 1, 1951), 12 and 16.

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A short review of the debut in Town Hall of the Quartetto Italiano (November 4, 1951) in a program dedicated to the memory of Artur Schnabel. See also Douglas Watt, “Nothing Like It,” in The New Yorker, xxvii (December 22, 1951), 66–67 for a review of the same concert. 2674. Bostian, Carey Hoyt. “A History of the Stradivari Quartet at the University of Iowa School of Music.” DMA dissertation. University of Iowa, 2001. 2675. Dalinkiavichus, G. “Imeni Tchurlionisa,” in Sovetskaia Muzyka, (1982), No. 8, 65–6. Description of the Tchurlionis String Quartet of Lithuania, founded in 1968. 2676. Dvarionas, Yu. “Tchetrero iz Vilniusa,” in Sovetskaia Muzyka, (1982), No. 8, 67–8. Description of the Vilna String Quartet, founded in 1965 and the winner of an international competition in Liège. The quartet played all “83” Haydn quartets. See also 2661. 2677. Maallem, Vanessa Chanson. “Quatuor Terpsycordes: la Passion de l’Exploration,” in Revue Musicale de Suisse Romande, lviii (December 2005), 18–19. A short tribute to the Terpsycorde String Quartet founded in 1997 in Geneva, Switzerland. 2678. Sand, Barbara Lourie. “The Tokyo String Quartet at 20,” in Classical, ii (April 1990), 26–9. 2679. Lynch, Stacy Combs. “A String Quartet Grows in Iowa: Four Siblings from Winnetka Make Beautiful Music Amid the Alien Corn,” Chamber Music, x (1993), 12–15. Lynch writes about the Ying String Quartet. 2680. Dossa, E. “On a Mission: The Ying Quartet Reaches Out,” in Strings, xii (1997), 56–9+. See also 971, 2601, 2604, 2605, and 2606 for information about other string quartets. Other Individual Performing Groups 2681. Tingaud, Jean-Luc. Cortot-Thibaud-Casals: un trio, trois solistes. Paris: Josette Lyon, 2000. ISBN 2843190282. 194 pages.

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A chatty history of this trio, which first performed privately in 1903 and in major tours from 1921 to 1933. Tingaud provides a biography of each player and various accounts of their interactions in the salons of Paris and with important artists of the time. He also gives a brief history of previous piano trio ensembles from Mozart to those just preceding the Cortot-Thibaud-Casals Trio. He includes a chronology, a discography, a bibliography, and a list of repertory. Tingaud brings in the political issues that eventually separated the 3 performers. 2682. Cherniavsky, Felix. The Cherniavsky Trio. [Edmonton?]: F. Cherniavsky, 2001. ISBN 0968907601. 176 pages. A history of the Cherniavsky Piano Trio, which flourished from c.1904 until the late 1920s. Originally formed in Odessa, the trio performed regularly in Europe, England, Africa, Australia, Canada, and the United States. The brothers Leo, Jan, and Mischel were also sometimes joined by other siblings. Their many recordings attest to their style of performance, which was more flamboyant than subtle. The concerts typically mixed trios with solos and duets. 2683. Delbanco, Nicholas. The Beaux Arts Trio. New York: William Morrow, 1985. ML 421.B42D4.1985. ISBN 0-688-04001-2. 254 pages. Extensive interviews with the performers of this trio by the author, a relative of the cellist, covering about 10 years. Delbanco gives a history, a detailed description of a single concert, a behind-the-scenes view of a recording session, and a discussion of performance problems: a round table discussion with David Blum and the trio, and detailed performers’ analyses of Beethoven’s Op. 70 No. 1 by each of the trio members. Delbanco includes a discography and a list of concerts for the 1983–4 season. See also Heidi Waleson, “Beaux Arts Trio, an Enduring Sound,” in The New York Times Magazine (November 18, 1984), 76–86. 2684. Sullivan, M. H. “The Beaux-Arts of Menahem Pressler,” in Piano and Keyboard, No. clxxxii (September–October 1996), 25–9. 2685. Peterson, Denise Y. “The Abel-Steinberg-Winant Trio: Reflections on Commissioning and Performing New Chamber Music.” MD dissertation. Florida State University, 2000. DAI, lxi (April 2001), p3823A. v + 194 pages. The Abel-Steinberg-Winant Piano Trio, organized in 1984 and resident at Mills College, has worked with such contemporary composers as Lou Harrison, Somei Satoh, John Harbison, Paul Dresher, Frederic Rzewski, Richard Felciano, Alvin Curran, Peter Garland, and John Adams. Peterson takes 5 of these composers (Dresher, Harrison,

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Felciano, Curran, and Garland) and discusses how the composers and performers collaborated. She interviews the composers and performers and appends these interviews to the end of the thesis. 2686. Chapin, Gary Parker. “The Arcado String Trio: Conflict and Cooperation,” in Strings, vii (1992), 31–2. 2687. Schonberg, Harold C. “Musicians Need for Chamber Music,” in The New York Times, xcix (June 4, 1950), section 2, page 7. A very brief interview with William Kroll and Joseph Fuchs about their founding the Musicians Guild in 1947, whose function is to perform chamber music. This is a tribute to their teacher Kneisel. Schonberg explains how the guild works, its finances and its programming. 2688. McKay, James R. “Report from Chicago: The Contemporary Chamber Players,” in Current Musicology, No. 15 (1973), 15–17. A brief account of the founding of this important performing ensemble and what it has accomplished. 2689. Block, Steven D. “The Making of a New Music Ensemble,” in Perspectives of New Music, xx (1981–1982), 592–9. Block presents the history of the Pittsburgh New Music Ensemble conducted by David Stock. He considers how it has attracted audiences (for example, by the use of celebrities), the nature of its repertory (90% American and not limited to New England composers), its funding, its radio broadcasts with Martin Bookspan, its relationship to the Pittsburgh Symphony, and its taking over of the Harvey Gaul contest. There is no specific mention of chamber music, but this article is included here since most of its repertory would inevitably be chamber music. 2690. “Wind Instrument Chamber Musical Society,” in Musical Opinion, xvi (January 1, 1893), 230. A brief account of this woodwind society organized in London in 1889, about the music it has engendered, and about a concert given in the 1892–3 season. Besides new works, its repertory included such works as Mozart’s C minor Serenade. The article names performers. 2691. “The Distin Sax-Horn Quintet,” in American Art Journal, xl (December 22, 1883), 145–6. About an English saxophone quintet organized by Henry Distin that introduced the instrument to America in 1849. It describes the group’s American tour. 2692. “The Raschèr Saxophone Quartet,” in Music News from Prague (1984), No. 4, page 2.

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A brief account of this ensemble’s career. It was founded in 1969 and has had numerous works written for it. 2693. “Leblanc Fine Arts Saxophone Quartet,” in Woodwind World, x (September 1971), 7. About a Milwaukee-based sax quartet formed in 1967; includes information about its membership, and a discography. There is also a photo of the quartet. 2694. “Diller’s Classical Cornet Quartet,” in American Art Journal, xxxv (September 3, 1881), 361–2. About an ensemble organized in New York in 1857 by Francis X. Diller and consisting of 2 cornets, an E-flat tenor and a baritone or basso. They played original works composed for them as well as many arrangements of string chamber music. The performances were private, in small halls, and only occasionally with invited guests. 2695. Woltzenlogel, Celso. “Villa-Lobos Wind Quintet of Rio, Brazil and the Children,” in Woodwind World, v (June 1, 1964), 6. A brief account of this Brazilian quintet’s activities for children. Woltzenlogel includes photos, repertory, and information about its membership. The quintet was part of a “Caravan of Culture” that played for children (and adults) throughout the country. 2696. “The University of Arizona Woodwind Quintet,” in Woodwind World, v (June 1, 1964), 6. A brief account of the formation of the group in 1959, its membership, repertory, and activities. It includes a photo of the quintet. 2697. Snavely, Jack. “University of Wisconsin-Milwaukee Woodwind Art Quintet,” in Woodwind World, xi (April, 1972), 22, 26. Snavely writes about the formation of the quintet in 1966 and gives details on its members. See 2556 for information on the Dorian Woodwind Quintet and its commissioning of new works. 2698. Astel, A. “Brass-Quintet Bolshogo Teatra,” in Muzikalnaia Zhizn (1985), No. 16, page 6. In Russian. Astel describes the Bolshoi Theatre Orchestra brass quintet, founded in 1982. He gives information about its membership and repertory (primarily of the 16th to 18th centuries, but with some modern works).

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STUDIES OF INDIVIDUAL PERFORMERS OF CHAMBER MUSIC 2699. Martin Ruiz, Leticia. “Fascinación por la música contemporánea.” Scherzo Revista de música, xxi (March 2006), 132–4. An interview, by a Spanish reporter, with the English violinist Irvine Arditti, founder of the Arditti Quartet in 1974. The Arditti is best known for its interpretation of contemporary music and for its work with living composers. 2700. Tenney, Wallace R. “Baermann and Von Weber,” in Woodwind Magazine, i (February 1949), 3, 6. Tenney gives a biography of Heinrich Baermann (1784–1847), a great German clarinetist for whom Mendelssohn wrote 2 trios (clarinet + basset horn + piano) and who had a special relationship to Carl Maria von Weber. He describes their concert tours and their performances with Spohr. Baermann inspired Weber to write the Concertino, 2 concertos, a Grand Duo for clarinet + piano, a quintet for clarinet + string quartet, and a set of variations. 2701. Toenes, George. “Baermann – Father and Son,” in Clarinet, No. 22 (Spring, 1956), 19–20. Toenes gives a brief biography of the 2 Baermanns (H.J. – father and Carl – son): the former inspired Weber to write much clarinet music (some chamber) and the latter (1811–1885) developed the Baermann method or system. 2702. Guynemer, C. Essay on Chamber Classical Music. London: author, 1846. NL V2.6098(2). 24 pages. A lengthy biography of Pierre Baillot (1771–1843), the author’s violin teacher. Guynemer defines chamber music, which includes piano solo and excludes “those compositions which are the ephemeral effusions of fashion, or are intended for the display of any peculiarity of execution … ” Guynemer stresses the need for ensemble playing and quotes Baillot’s interpretation of chamber music. If the listener is intent on following the details of a chamber score with his nose on the notes, he will miss many of the nuances that the performers give to the notes during performance—the mind can concentrate on only so much (Baillot was particularly annoyed at Meyerbeer for following scores rather than listening). An appendix gives some of Baillot’s programs 1814–1840, as well as programs and program notes for concerts of the Beethoven Quartet Society and the Musical Union in 1845. Guynemer spends some time on the Beethoven Quartet Society (founded 1845), its concerts and its management, as well as other London chamber societies and patrons from 1822 to 1846.

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2703. Parr-Scanlin, Denise. “Beethoven as Pianist: A View through the Early Chamber Music.” DMA dissertation. University of Texas at Austin, 2005. DAI lxvii (October 2006), p.1148A-9A. xiii + 143 pages. A study of the piano part of the Op. 5 Violoncello Sonatas, the Quintet Op. 16 for piano and winds, and the Horn Sonata Op. 17. Since Beethoven played the piano at the time these pieces were first performed, and since he no doubt wanted to show off his abilities on that instrument, we can judge a little about his piano playing technique from studying these piano parts. Parr-Scanlin dismisses the solo sonatas because she believes that they were for publication rather than for Beethoven’s own public concerts. She does include commentary by Beethoven’s contemporaries, some historical background on the harmonie, and Beethoven’s technique at improvisation as partially revealed in Op. 80. 2704. Martens, Frederick Herman. Violin Mastery: Interviews with Heifetz, Auer, Kreisler, and Others. 1st ed. 1919. Reprint: Mineola (NY): Dover Publications, 2006. ISBN: 0486450414. ix + 178 pages. Among the violinists interviewed are the chamber musicians Franz Kneisel (the perfect string ensemble) and Adolfo Betti (the technique of the modern quartet). 2705. Berezowsky, Alice. Duet with Nicky. Philadelphia/New York: J.B. Lippincott, 1943. HML 1553.15. 239 pages. A highly romanticized personal biography of Nicolas Berezowsky (1900–1953) by his wife. He was a violinist and composer, who for 5 years was a member of the Coolidge String Quartet of the Library of Congress. He also played in other quartets and gave many sonata recitals. In addition, he wrote some chamber music, including a string quartet that the Flonzaley performed. 2706. Berlinskii, Valentin and V.M. Teplitskaia. Dar bestsenny: dialogi s V.A. Berlinskim. Voronezh: Tsentr dukhovnogo vozrozhdeniia Chernozemnogo kraia, 2004. ISBN: 5900270629. 79 pages. Berlinskii was the cellist in the Borodin Quartet. 2707. Haugen, Einar Ingvald, and Camilla Cai. Ole Bull: Norway’s Romantic Musician and Cosmopolitan Patriot. Madison (WI): University of Wisconsin Press, 1993. ISBN 0-2991-3250-1. ML418.B9H38.1993. xxx + 354 pages. There are a few passing references to Ole Bull playing chamber music, especially string quartets.

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2708. Busch, Adolf. Letters, Pictures, Memories. Compiled by Irene Busch Serkin, trl. by Russell Stockman. 2 vols. Walpole (NH): Arts & Letters Press, 1991. ML418.B97A3.1991. (600 copies were printed privately.) 591 pages. A wonderful collection of letters to and from violinist Adolf Busch between 1906 and 1952. The index at the end of Volume 2 enables readers to find references to specific chamber works mentioned in the letters, and the references document the career, tastes, and interpretations of this leading performer of chamber music. There are also letters from and to members of Busch’s family, including his cellist brother Hermann, his conductor brother Fritz, and his son-inlaw Rudolph Serkin, all of whom are important for chamber music in the 20th century. For the biography and career of the early-19th-century chamber violinist Joseph Emidy, see 1388. 2709. Malcolm, Noel. George Enescu: His Life and Music. London: Toccata Press, 1990. ISBN 0-9076-8932-9 or 0-9076-8933-7. ML410. E55M27.1990. 320 pages. There are some passing references to Enescu playing trios, sonatas, and quartets and coaching the Amadeus Quartet (page 240). 2710. Gasponi, Alfredo. Il suono dell’Utopia: Piero Farulli dal Quartetto Italiano alla Scuola di Musica di Fiesole. Florence: Passigli Editori, 1999. ISBN 8-8368-0623-6. ML290.8.F54G38.1999. 247 pages. A biography of Piero Farulli, long-time violist of the Quartetto Italiano. This is an indispensable document for the study of Italian chamber music during most of the 20th century. It includes a discography of the Quartetto Italiano from its inception to 1978 when Farulli retired because of poor health, as well as other recordings he made with other quartets or as second violist in quintets. 2711. Ferares, Maurice. Violist in het Verzet: Herinneringen van Maurice Ferares. Amsterdam: Bataafsche Leeuw, 1991. ISBN 9-0670-7268-0. ML418.F47A3.1993. 200 pages. Here we have the memoires (1922–1945) of a violinist, Maurice Ferares, who was born in 1922 to a Jewish family in Amsterdam and who studied violin with the concertmaster of the Concertgebouw Orchestra. Caught up in the political and racial events of the Nazi era, he describes both his work for the communist underground and his private performance of chamber music throughout. He is writing this 45 years after the end of the war lest future generations forget.

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2712. Morreau, Annette. Emanuel Feuermann. New Haven/London: Yale University Press, 2002. ISBN: 0300096844. xx + 418 pages. This is the definitive biography of Feuermann (1902–1942), one of the greatest violoncellists of his time and a frequent participant in chamber music performances. His recordings with Jascha Heifetz and Artur Rubinstein of trios by Schubert, Brahms, and Beethoven are especially famous. Born in Lvov, Galicia, Feuermann was a resident of Germany before the Nazi takeover; he toured the world, and died an American citizen. 2713. Hampton, Colin. A Cellist’s Life. San Anselmo (CA): String Letter Publisher, 2000. ISBN 1-890490-35-0. vii + 102 pages. Autobiography and anecdotes by Hampton (1911–1996), long-time violoncellist of the Griller String Quartet (1928–1961). Hampton comments on the composers with which the quartet worked and on critics. He offers advice to the young performer on violoncello technique and quartet playing. 2714. Brill, Hans Gerd. “Rudolf Hindemith und Hans Pfitzner: Begegnungen,” in Mitteilungen der Hans Pfitzner Gesellschaft, lxiv (2004), 3–28. Brill gives an account of Rudolph Hindemith, younger brother of Paul and one of the great German violoncellists of the early 20th century. He often played chamber music, including 3 years with the Amar String Quartet. He had a special relationship with Hans Pfitzner, whose music he often played and conducted. Shortly after the premier of Pfitzner’s String Quartet in C sharp minor Op. 36, Rudolf lost the score. The article cites letters and newspaper clippings that show the close friendship of the 2 musicians. Brill points out Rudolf ’s association with the Nazi regime, which resulted in his eclipse after World War II. 2715. Borchard, Beatrix. Stimme und Geige: Amalie und Joseph Joachim: Biographie und Interpretationsgeschicht. Vienna/Cologne/Weimar: Böuhlau Verlag, 2005. ISBN 3205772423. 670 pages. Includes a CD with photos of many documents relating to the careers of Joseph and Amalie Joachim. A huge study of the lives and careers of the violinist Joseph Joachim and his wife, the soprano Amalie Schneeweiss Joachim. Borchard’s approach is to present a montage of documents (including a large number of personal letters to and from Amalie and concerning Amalie that were omitted both from the biography by Joseph’s pupil Andreas Moser and the 3-volume collection of letters published by Moser and the couple’s eldest son, Johann Joachim) and to interpret

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them, rather than to present a story biography where it behooves the author to imagine the missing moments. Borchard thus deals with Amalie, whose existence is ignored by male-oriented biographers, and Joachim’s Judaism, which Moser and other anti-Semitic writers also ignored. Joachim’s centrality to the history of chamber music performance is underscored by his constant emphasis on chamber music from his student days in the 1840s to his Berlin and London String Quartets at the beginning of the 20th century. Borchard supplements the known literature on Joachim’s relationship to other important composers and chamber musicians, including among others the Mendelssohns, the Schumanns, the Helmesbergers and Brahms, and cites specific comments by Joseph Joachim on interpretation of string quartets. This is an exhaustive study that is basic to any further consideration of Joseph Joachim’s contribution to chamber music. 2716. Reel, James. “Staying Alive.” Strings, xix (January 2005), 54–6. A brief interview with Nicholas Kitchen, first violinist of the Borromeo String Quartet, on Living Archive, the recording system he developed to preserve the group’s performances. See Clara Steuermann’s “In Memory of Rudolf Kolisch” 2531; for Kolisch’s own writing see 2589. See 2651 for interviews with Eugene Lehner, violist of the Kolisch Quartet. 2717. Richard, Albert, ed. Alfred Loewenguth: 70 Ans – 50 Ans d’Activité, in La Revue Musicale, No. 347 (1981). 48 pages. A tribute to the distinguished French violinist and leader of the Loewenguth String Quartet. It includes biography (1911–1983), photos, and accomplishments. Loewenguth was very active in French chamber music as a performer and a teacher. 2718. Loft, Abram. How to Succeed in an Ensemble: Reflections on a Life in Chamber Music. Portland (OR)/Cambridge: Amadeus Press, 2003. ISBN 1574670786. 300 pages. This is the autobiography of the long-time second violinist of the Fine Arts Quartet and later a teacher at the Eastman Conservatory, whose books on violin sonatas and rehearsing chamber music are an important contribution to the study of chamber music. There is much information on the history of the Fine Arts Quartet, on its relationship with the University of Wisconsin–Milwaukee, on the performance of chamber music since the 1950s throughout the world, on how the quartet chose repertory, on interpreting music, on the business side of performing, and on teaching chamber music.

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Loft includes a list of the pieces performed by the Fine Arts Quartet or its members from 1954 to 1979 and a discography. 2719. Csepregi, Gabor. “Magyar Gabor 90 eves” [Gabor Magyar at 90], in Muzsika, xlvii, No. 485 (2004), 12f. A tribute to Magyar (b.December 5, 1914), who was the cellist of the Hungarian String Quartet (originally Magyar Vonosnegyes, founded in Budapest in 1935) from 1956 to 1970. Magyar’s original fingering and meticulously faithful performances were regularly singled out in reviews of the celebrated ensemble. Since his retirement—he had taught for many years in the U.S.—Magyar has devoted himself to painting. 2720. Weiss, Günther. Der grosse Geiger Henri Marteau (1874–1934): ein Künstlerschicksal in Europa. (Günter Dippold and Ulrich Wirz are co-editors.) Tutzing: Hans Schneider, 2002. ISBN 3-7952-1104-2. 272 pages. A definitive and well-documented biography of a major violinist who, in addition to concertizing as a soloist, had a distinguished career as a leader of string quartets and as a teacher of other leaders of string quartets (most notably Likko Amar and William Kroll). Chamber music is not the focus of the book, but it does show the importance of sonatas and quartets in Marteau’s career (he wrote 3 of his own quartets) and in his teaching (primarily in Geneva and Berlin). Marteau was a close friend of many composers including Max Reger and Bela Bartók. 2721. Toenes, George. “Richard Muehlfeld,” in Clarinet, No. 23 (Summer, 1956), 22–3. A brief biography of Muehlfeld and his influence on Brahms’s Trio Op. 114, Quintet Op. 115, and 2 Sonatas Op. 120. Toenes quotes an “eyewitness” who describes Muehlfeld’s playing as musical but not up to modern technical standards. He established the clarinet as a true solo (and chamber) instrument. 2722. Müller, Hertz. “Richard Mühlfeld—der Brahms-Klarinettist,” in Brahms-Studien, xiii (Tutzing: Hans Schneider, 2002, ISBN 3-79521092-5), 129–48. The most thorough biography of clarinetist Muehlfeld (1856–1907), for whom Brahms wrote much of his clarinet music. For a brief autobiographical account of his involvement in playing chamber music (specifically piano trios), see Dorothy Packard’s interview with Leonard Pennario 2559. For a discussion of the career of the virtuoso violinist and chamber musician Gaetano Pugnani, see Daniel Heartz’s article 2799.

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2723. Winkler, Heinz-Jurgen. “Vitalitat und Formsinn: ein Gesprach mit Samuel Rhodes, dem Bratscher des Juilliard String Quartets,” in Hindemith-Forum, xii (2005), 3–7. Presented in German with a complete English and French translation. After a few general remarks on string quartet playing and the influence of the Budapest Quartet on him, Rhodes briefly discusses the Hindemith quartets and how they reflect the composer’s life. Rhodes has been the violist of the Juilliard String Quartet for many years. For a tribute to Arnold Rosé and his importance as a chamber musician between World War I and World War II, see 217. 2724. Robertson, Paul. “Fight Club (Living in a Quartet),” in The Strad, cxvi (July 2005), 46–9. Robertson, the leader of the Medici Quartet, describes not only how different personalities mix in a long-time musical ensemble (his group was 35 years old and had had 2 major personnel changes in that time) but how a fifth personality emerges—the collective character of the ensemble that weathers personnel changes. 2725. Newman, Richard and Kitty Kirtley. Alma Rosé: Vienna to Auschwitz. Portland (OR): Amadeus, 2000. ISBN 1574670514. 407 pages. German trl. Alma Rose: Wien 1906-Auschwitz 1944. Bonn: Weidle, 2003. ISBN 3931135667. A painstakingly detailed, well-researched life of Alma Rosé, a violinist who frequently played chamber music. Alma Rosé (1906–1944) was the daughter of Arnold (né Rosenblum) who headed the Rosé Quartet in Vienna and London for nearly 60 years, and Newman has much to say about him; Alma was second violinist for a short time. She was named after her aunt Alma, wife of her mother’s brother Gustav Mahler. Her final years were spent in Nazi enslavement, where she was conductor of the Auschwitz-Birkenau Women’s Orchestra. For information on the 17th-century German chamber violinist Johann Schop, see Andreas Moser’s “Johann Schop als Violinkomponist” 2179. 2726. MacArdle, Donald W. “Beethoven and Schuppanzigh,” in The Music Review, xxvi (1965), 3–14. This is a detailed, scholarly, well-documented study of the relationship between Beethoven and the violinist Ignaz Schuppanzigh (1776–1830), who premiered many of Beethoven’s chamber pieces including the late quartets. 2727. Albrecht, Theodore. “‘First Name Unknown’: Violist Anton Schreiber, the Schuppanzigh Quartet, and Early Performances of Beethoven’s

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String Quartets, Opus 59,” in The Beethoven Journal, xix (Summer 2004), 10–18. A short, documented biography of Anton Schreiber (1766/67 – after 1830), who was the violist in the Schuppanzigh Quartet that premiered Beethoven’s Op. 59 either privately in 1806 or publicly in 1807. For a biography of Spohr as a chamber artist as well as soloist, see Clive Brown’s Louis Spohr: A Critical Biography 2315. 2728. Toenes, George. “Clarinetists who Influenced Mozart,” in Clarinet, No. 17 (Winter, 1954–1955), 13–14. Toenes includes a very brief mention of the clarinetists Mozart knew and the works they caused him to write. Special attention is paid to Anton and Johann Stadler. 2729. Tomes, Susan. Beyond the Notes: Journeys with Chamber Music. Woodbridge/Rochester (NY): Boydell and Brewer, 2004. ISBN 1843830450. xvii + 192 pages. A wonderful diary by the pianist of the Domus Ensemble and the Florestan Trio, explaining the trials and successes of a professional chamber musician. The English Domus Ensemble was established in 1979 and for its first few years was known for its portable concert hall (a geometric dome) that brought the audience into closer contact with the performers. The piano and stage was toted from concert to concert in a truck. For most of its career, the Ensemble performed primarily as a piano quartet. After the Ensemble folded in 1995, Tomes and 2 others from the larger group started the Florestan Trio. Tomes is not interested in the personal lives of the musicians but in how the ensembles got along, how they rehearsed, the problems they had to solve, the responses of audiences, and her own perceptions on what is going on. There is a touching chapter on her postgraduate work with Sandor Végh. This is well-written and required reading for all young chamber musicians about to launch a professional career. 2730. Jacobson, L. “Interview with Michael Tree, Violist with the Guarneri Quartet,” in Journal of the American Viola Society, xiv (1998), 58–60. 2731. Keller, J. B. “Rachmael Weinstock: 80 years of Chamber Music,” in Chamber Music, vii (1990), 14–15+. Weinstock was a member of the Manhattan String Quartet. For information on the life of the early-18th-century Italian chamber violinist Francesco Maria Veracini, see John Hill’s dissertation 2362. For information on Viotti as violinist in duets, see W.H. von Riehl’s article 438. The violist Lionel Tertis is discussed by Thomas Tatton 447.

VI Miscellaneous Topics

PATRONAGE AND CONCERT SERIES 2732. Ridgewell, Rupert M. Concert Programmes in the UK and Ireland: A Preliminary Report. London: IAML and the Music Libraries Trust, 2003. ISBN 0952070391. vii + 165 pages. This is an initial list of where concert programs from c.1750 to c.2000 can be found in the United Kingdom and Ireland. At least a few of the programs contain chamber music. This is an important tool for musicologists chronicling the public performance of chamber music. 2733. Salmen, Walter. Das Konzert: eine Kulturgeschichte. Munich: C.H. Beck, 1988. ML 3795.S2318.1988. Salmen discusses the nature of chamber music in the salon and home (pages 96–109), by amateurs in public (pages 109–114), and by professionals in public (pages 158–170). Chamber music is not the primary focus of the book, but the social situations for it are considered as part of the social situations for all kinds of concert music. There are many etchings, photos, programs, drawings, and paintings to document Salmen’s descriptions. He concentrates on Germany, Austria, and Paris. 2734. “Chamber Music: Its Sponsors and Backers,” in International Musician, lxi (February 1963), 30–1, 35. This is a sizeable list of resident professional university chamber music groups, university chamber music concert series, museum and 712

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library concert series, foundations (Clarion, Gertrude Clarke Whittal, Elizabeth Sprague Coolidge), governments (Canadian), trust funds, ticket sales, and sponsors. Albert Cohen describes private patronage of chamber music in 17th-century France: see 552. For information on the patronage of the Prussian Queen Sophie Charlotte and Frederick the Great, see Karla Höcker’s Hauskonzerte in Berlin 223. See Alfred Einstein’s study of Gottfried van Swieten’s importance for chamber music, especially that by Haydn and Mozart 1915. 2735. Subirá, José. La Música en la Casa de Alba: Estudios Historicos y Biograficos. Madrid: Sucesores de Rivadeneyra, 1927. xxii + 374 pages. Subirá presents a study of the musical life surrounding the House of the Dukes of Alba from the 15th to the 19th centuries, based on many types of documents, some of which are quoted here. Evidence for chamber music is scattered throughout, including many foreign publications of sonatas and trios and those by Spaniards (especially Francesco Montali) of the 18th century in the library of the Dukes of Alba and 6 quartets by Manuel Canales (1747–86) in the Madrid Biblioteca Nacional dedicated to the Twelfth Duke of Alba. 2736. La Via, Stefano. In Albert Dunning, ed., Intorno a Locatelli: Studi in occasione del tricentenario della nascita di Pietro Antonio Locatelli (1695–1764), in Speculum musicae, Vol. I, No. 1 (Lucca: Libreria Musicale Italiana, 1995). A discussion of new documents relating to Cardinal Ottoboni in Rome, one of the great patrons of chamber music during the first 40 years of the 18th century. For a detailed account of concert life in London from 1750 to 1784, see 1448. For a history of private concerts in France during the second half of the 18th century, see 557. For concert life in Vienna during Haydn’s lifetime, see 477. 2737. McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge/New York: Cambridge University Press, 1993. ML286.8. L5M28.1993. ISBN 0-521-41353-2. xxi +300 pages. A background study of concerts in London during the latter half of the 18th century. Chapters include: “The Social Role of the Concert,” “The Nature of the Music,” and “The Financial and Commercial Aspects of Concerts.” Chamber music concerts appeared in private homes and at court, and while the topic is not central to the theme of the book, there is some material relevant to chamber music in London.

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Hubert Unverricht discusses private performance of string quartets in Schlesien from 1780 to 1850 in 580. For an account of audiences of chamber music in early Victorian London, see 535 and 536. For French audiences and chamber music from 1814 to 1870, see Fauquet’s discussion 562. 2738. McVeigh, Simon. “The Benefit Concert in Nineteenth-Century London: from ‘Tax on the Nobility’ to ‘Monstrous Nuisance,’” in Nineteenth-Century British Music Studies, Vol. 1, ed. Bennett Zon (Aldershot: Ashgate, 1999), 242–66. McVeigh considers the role of the benefit concert in 19th-century London and lists the contents of a number of their programs. While most of the concerts featured vocal music, there were some chamber music concerts. 2739. Chimènes, Myriam. Mecènes et Musiciens: du salon au concert à Paris sous la IIIe République. Paris: Fayard, 2004. ISBN 2213616965. 776 pages. A description of the wealthy patrons of music in Paris during the later-19th and early-20th centuries and of their salons in which chamber music often played a major part. For a description of an amateur chamber music society in France 1860–1910 (to which Saint-Saëns belonged), see Lucien Augé de Lassur’s La Trompette 566. 2740. Sunderman, F. William. Musical Notes of a Physician: 1980–1982. Philadelphia: Institute for Clinical Science, 1982. ML 60.S888.1982. v + 255 pages. Speeches and program notes by a physician almost entirely on string quartets. This is a fanciful, undocumented, out-of-date, incorrect volume that is enjoyable reading and that presents the perspective of the amateur enthusiast. Especially interesting are the accounts of 3, 19th-century physicians—Helmholtz, Borodin, and especially Billroth—who were involved with chamber music. Sundermann discovered a lost Borodin Sextet while in Moscow, but no further details have been given (the first 2 movements were known previously, the last 2 were unknown). Billroth was particularly important for his support of Brahms. 2741. Schwarz, Vera. “Zur Programmgestaltung des Violinabends in Wien 1880–1920,” in Violinspiel und Violinmusik in Geschichte und Gegenwart, ed. Vera Schwarz (Vienna: Universal Edition, 1975), 52–5. Schwarz provides examples of recital programs by Joachim (1880), Kubelik (1900), Irmengilde Schachner (1902), and Margarethe Kolbe (1911) and a commentary on the types of works and composers chosen over this 40-year period.

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2742. Schmidt, Ferdinand August. “Die Kammermusikfeste des BeethovenHauses in Bonn vom Jahre 1890 ab,” in Deutsches Beethoven-Fest Bonn vom 21. bis 31. Mai 1927 (Bonn: Carthaus, [1927]), 9–102. A brief history of the founding and development of a Beethoven chamber music festival in Bonn at Beethoven’s birth home. Such outstanding groups as the Joachim and Petri Quartets participated at the first festival in 1890, and the Rosé Quartet played at the second festival in 1893; later festivals were held in 1897, 1899, c.1901, and every 2 years to 1913 and from 1918 to 1926 (when this article was written). Schmidt gives performers and some of the works performed. 2743. Haine, Malou. “L’essor des société de musique de chamber en Belgique dans la seconde moitié du xixe siècle,” in Les societes de musique en Europe (1700–1920): Structures, pratiques musicales et sociabilites (Berlin: BWV Berliner Wissenschafts-Verlag, 2007), 193–209. A preliminary study of chamber music concerts in Belgium, almost entirely in the second half of the 19th century. Earlier séances de musique classique ( = meetings for the purpose of performing classical music) included chamber music together with other genres of music; after the mid-19th century, séances de musique de chambre— programs solely of chamber music—were more frequent. Haine concentrates on Brussels but also includes other cities, especially after 1870. The concerts were given by both amateurs and professionals, in private homes for friends and in public venues primarily sponsored by music publishers and instrument makers. Many of the professional performers were professors at the conservatories, such as Henri Vieuxtemps, Jeno Hubay, Joseph Servais, and Eugène Ysaÿe. The works of Haydn, Mozart, Beethoven, and Mendelssohn formed the “classical” repertory of these concerts, and many moderns were also eventually added—the works of Brahms, Raff, Gade, Saint-Saëns, Borodin, and the Franck School. 2744. Hawkins, Frank V. A Hundred Years of Chamber Music. London: South Place Ethical Society, 1987. ISBN 0-90236813-3. ML 286.8 L52S63.1987. 136 pages. Hawkins presents a history of the chamber music concerts presented at South Place in Finsbury in London from 1887 to 1987, with photographs, programs, and lists of performers, patrons, and works performed. Over 150 string quartet ensembles performed here, as well as trios and others, including vocalists. 2745. Kohnen, Daniela. “Mrs. Drapers Hoehle: Highlife auf englischen Kammermusikabenden nach 1900,” in Das Orchester, xlviii, No. 3 (2000), 7–11.

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A brief portrait of music-playing—mostly chamber music—in the private homes of English society from c.1900 to 1914. Especially exciting were the all-night music parties at the home (“cave”) of Paul and Muriel Draper from 1911 to 1914, whose invited performers included Pablo Casals, Jacques Thibaud, Artur Rubinstein, Jascha Heifetz, Rebecca Clarke, Eugène Ysaÿe, Joseph Szigeti, Artur Schnabel, Pierre Monteux, Harold Bauer, Eugene Goosens, and many others— famous solo virtuosi, conductors, and composers playing chamber music together. 2746. Kirk, Elise Klihl. “Chamber Music at the White House,” in Chamber Music, xxi (December 2004), 28–32. A short review of concerts at the White House on a regular basis since the days of Abraham Lincoln. These intimate concerts were performed in the East Room after important dinners; they were often concerts of chamber music performed by such notable ensembles as the Kneisel, Arbos, Pro Arte, Manhattan, and Curtis Quartets, among others. See also Kirk’s Musical Highlights at the White House (Malabar (FL): Krieger Publishing Company, 1992. ISBN: 0894646648). 2747. Bedford, William Charles. “Elizabeth Sprague Coolidge: The Education of a Patron of Chamber Music: The Early Years.” PhD dissertation. University of Missouri, 1964. UMI 64–13280. DAI xxv.7, pp. 4073–4. 350 pages. Bedford presents a biography and history of Mrs. Coolidge’s patronage of chamber music, beginning with her inheritance in Chicago in 1915, her first quartet (the Berkshire) in 1916, the Berkshire Festival (1918 onward) in Pittsfield, Massachusetts, the Library of Congress Auditorium in 1925, and the Coolidge Foundation to support chamber music. He is concerned with how Mrs. Coolidge’s fortune and career came to be and how she interacted with American institutions of the time. 2748. Van Malderen, Anne. “Elizabeth Sprague Coolidge (1864–1953) – l’histoire d’une fortune personnelle au service de la musique de chamber,” in Revue Belge de Musicologie, lviii (2004), 233–50. A detailed though brief biography of Coolidge, concentrating on her financial contributions to chamber music composition, performance, and performers. 2749. Lee, Se-Yun. “The Coolidge Commissions: Elizabeth Sprague Coolidge and the Genesis of Six European String Quartets.” DMA dissertation. University of Maryland, College Park, 2002. DAI, lxiv (August 2003), p331A. iv + 69 pages.

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A history of the commissioning by Mrs Coolidge of Schoenberg’s string quartets Nos. 3–4, Britten’s String Quartet No. 1, Bartók’s String Quartet No. 5, Prokofiev’s Quartet Op. 50, and Webern’s Quartet Op. 28—all written in a 14-year period between 1927 and 1941. Lee is the second violinist of the Coolidge Quartet, which performed these 6 works publicly as part of Lee’s degree. 2750. Broe, Carolyn Waters. “Louise Lincoln Kerr (1892–1977): Composer, Performer and Patron,” in IAWM (International Alliance for Women in Music) Journal, x, No. 1 (2004), 12–15. Kerr was a violinist, composer, and a patron of music in Arizona. A former member of the original Cleveland Symphony, she helped organize chamber music series in Phoenix where she had moved in 1936. Among her compositions is a complete String Quartet in A, numerous isolated quartet movements, and a group of pieces for viola and other instruments. 2751. Leman, Craig B. A Write of Strings: Selections from Thirty Years of Chamber Music Program Notes Written for Corvallis Audiences. N.p.: Chamber Music Corvallis, 2003. ISBN 0970672020. 415 pages. 2752. Macchione, Daniela. “Attività concertistica e musica strumentale da camera a Roma (1856–1870),” in Rivista Italiana di Musicologia, xxxvii (2002), 265–319. This article includes an abstract in English. Macchione chronicles concerts given in Rome at the Pontificia Congregazione ed Accademia di Santa Cecilia and the Accademia Filarmonica Romana during a 15-year span. Many of the concerts were concerts of chamber music by German composers, with a few French, Italian, and others represented. 2753. Bashford, Christina. The Pursuit of High Culture: John Ella and Chamber Music in Victorian London. Woodbridge/Rochester (NY): Boydell & Brewer Ltd., 2007. ISBN 978-1-84383-298-0. xiv + 410 pages. Bashford provides a lengthy and detailed biography of John Ella (1802–1888),who was a concert manager and entrepreneur in London from the 1840s to the 1880s. His concerts at the Musical Union Soirées and Matinées emphasized chamber music from Mozart to Mendelssohn; it was performed by all the famous chamber music ensembles of the time, from Hellmesberger to Joachim, as well as less famous ensembles led by such famous musicians as Sivori, Vieuxtemps, Bazzini, Alard, Clara Schumann, Wieniawski, Auer, Viardot, and many others. Bashford gives seemingly complete lists of the performers.

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2754. Batchelder, Alice Coleman. Coleman Chamber Concerts 1904–1944. Pasadena: The Coleman Chamber Music Association, 1945. ML 1111.8 P3C6. 73 pages. Batchelder gives a history of this Pasadena-based chamber concert series with charts listing all compositions played, all performers, and all patrons. She gives a good representation of what chamber music was heard in California during its period of growth from frontier state to principal home of major chamber music composers and performers. 2755. Walls, Brian Scott. “Chamber Music in Los Angeles, 1922–1954: A History of Concert Series, Ensembles and Repertoire.” MA thesis. California State University at Long Beach, 1980. UMI PSE13–15169. 234 pages. Walls uncovers materials relating to chamber music in Los Angeles 1922–1954 and then organizes this material and evaluates it. 2756. Parera Villalón, Célida. Historia de la Sociedad Pro-Arte Musical de La Habana. Montclair (NJ): Senda Nueva de Ediciones, 1990. ISBN 0-9184-5475-1. ML28.H291S6314.1990. 206 pages. This is a history and data book for the Pro-Arte musical organization that flourished in Havana, Cuba, from 1918 to 1967. Among its many sponsored concerts of symphony, opera, ballet, and guitar are a number of chamber music events, including concerts by such foreign groups as the Flonzaley, Roth, Léner, Guilet, Griller, Hungarian, Janácˇ ek and London Quartets, Vienna Octet, Alma Trio, the Busch-Serkin duo, and such Cuban groups as the Sociedad de Cuartetos de La Habana and Cuarteto de Cuerdas. While not an indepth study and more of a reproduction of basic sources, the book is of basic value to those studying the performance of chamber music in Cuba. 2757. Hammer, Mari Sweeney. “History of Louisville’s Chamber Music Society.” MA thesis. University of Louisville, 1981. UMI PSE13–17032. 209 pages. Hammer presents and systematizes all programs, repertory, and performing groups of the Louisville Chamber Music Society since its founding in January, 1938. She puts a special emphasis on new music and on ensembles of significance to the society and to Louisville. 2758. Crawford, Dorothy Lamb. Evenings On and Off the Roof: Pioneering Concerts in Los Angeles 1939–1971. Berkeley: University of California Press, 1995. ML200.8 L72C7.1995. ISBN 0-520-08891-3. xvii + 362 pages.

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Crawford gives the early history of the chamber music concert series that began in 1939 in Los Angeles, that included many of the world’s greatest musicians, and that spawned many new compositions. The series was first entitled “Evenings on the Roof” and was renamed in 1954 “Monday Evening Concerts.” In the 1930s, Los Angeles became home to many European émigrés and a host of East-Coast musicians seeking income in the burgeoning California economy. With the creation of this chamber music series, they had a home in which to write and perform intimate music and to experiment with new chamber works. Composers such as Igor Stravinsky, Ernst Toch, Erich Korngold, Ingolf Dahl, Mario Castelnuovo-Tedesco, and Arnold Schoenberg were now living in Los Angeles and composing for local musicians such as Arthur Rubinstein, Jascha Heifetz, Sergei Rachmaninoff, Vladimir Horowitz, Joseph Szigeti, and the American Arts Quartet. In addition to new works, the masterpieces from Bach to Bartók were also performed regularly. Few chamber concert series have come close to this in importance for all aspects of the history of chamber music. A segment of the book is presaged in Crawford’s “Peter Yates and the Performance of Schoenberg Chamber Music at ‘Evenings on the Roof’,” in Journal of the Arnold Schoenberg Institute, xii (1989), 175+. 2759. Slosberg, Helen S. An Air of Distinction: A Chronicle of the Brookline Chamber Music Society, Inc., Brookline, Massachusetts. Boston: Thomas Todd, 1976. ML 1111.8 B72B77. v + 161 pages, 40 photographs. An informal, homey description of chamber music in the Boston area by a devotee (Slosberg), with special emphasis on her creation in 1945 of the BCMS, a chamber music society designed primarily to bring chamber music to students in Brookline. Many well-known Boston Symphony Orchestra performers and other musicians featured in its programs. Programs are free to students during regular school hours. See 590 for the situations in the German Democratic Republic for the performance of chamber music from 1949 to 1990. 2760. Freed, Isadore. “American Chamber Music,” in Music Clubs Magazine, xxxi (May 1952), 23–4. This is a tribute to the Society for the Publication of American Music, founded in 1919, which has published about 70 complete chamber works by American composers (23 string quartets, 13 trios, quartets and quintets with piano, 17 solo sonatas, and other kinds of chamber music) and thereby encourages chamber music in America. It also has annual competitions. Freed gives a list of the 15 most highly regarded string quartets by Americans (Copland, Moore,

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Piston, V. Thomson, Barber, Porter, Norman Lockwood, Finney, Bernard Wagenaar, and D.G. Mason). 2761. Barela, Margaret Mary. “Chamber Music in Taos: A Well-kept Secret,” in The Instrumentalist, xlii (March 1988), 22–7+. 2762. Blomster, Wes. “Chamber Oasis: Undeterred by the City’s Poverty, El Paso’s Thriving Musical Festival This Year Celebrated its Tenth Anniversary,” in The Strad, cxi (April 2000), 368–9+. 2763. Campbell, Karen. “Republic of Equals,” in Symphony, li (May–June 2000), 16–18, 57–60. A brief history of the Marlboro Music School and Festival after 50 Years. 2764. Sand, B. L. “Musicians at Play: Marlboro at 50,” in Chamber Music, xvii (April 2000), 24–30+. 2765. Whiting, Melinda. “Enriched Evolution: A New Generation Brings Marlboro’s Musical Legacy Forward,” in Symphony, li (May–June 2000), 19, 61–2. This is a record of an interview with Richard Goode and Mitsuko Uchida when they took over directorship of the Marlboro Festival. They introduced Beethoven quartets (!) and the song repertory and reintroduced a composer’s program in the well-established chamber music and orchestra programs. 2766. Pitts, Stephanie E. “What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival,” in Music and Letters, lxxxvi (May 2005), 257–69. Questionnaires were handed out to the 400 people at a chamber music festival in England and the answers are discussed here. The questions had to do with the nature of audience interaction with the performers and included topics to do with the intimacy of the performance venue, the audience participation in choosing repertory, verbal explanations of the music by the performers, and audience members preparing individually for upcoming concerts. The study is an important contribution on how to relate chamber music performances with audiences. For a few chamber concert series and patrons in other countries at various times, see the studies by Hanslick 483, Heller 487, Augé de Lassur 566, Gottron 574, Cooper 563, Fabricus 508, Guynemer 2702, Seaman 621 and 622, Prochazka 502, Gut 567, Broman 641, Engländer 578, Hedin 639, Kammermusikforeningen 507, and Ping-Robbins 114. For a chamber concert series in Helsinki, see 550.

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2767. Pejovic´, Roksanda. “Chamber Music Making and Its Representatives,” in New Sound, xxi (2003), 95–107. Trl. from Serbian by Jelena Nikezic´. Pejovic´ gives a review of chamber music ensembles in Serbia from 1911 to 1940, with emphasis on the various groups in which the Slatin family (Aleksandar, Vladimir, and Illija) appeared and the Belgrade Quartet. Sample programs are given. 2768. Albrecht, Florent. Festivals de musique de chamber en France: dynamiques et enjeux contemporains. Paris: L’Harmattan, 2003. ISBN 2747551911. 197 pages. Albrecht makes a study of the social and economic aspects of chamber music festivals in France c.2000. There are 3 parts to this study. I: definitions of “festival,” “chamber music,” and the “public” that attends such festivals. II: statistical and analytical tools used to judge location, duration, repertory, nature of audience, and financing of such festivals with Le Festival de La Roque d’Anthéron as a case study. III: how to judge the success of such a festival. Unfortunately, Albrecht does not conform to the accepted definitions of chamber music and, by including solo piano recitals and chamber vocal concerts, all of his statistics and analyses are meaningless in a discussion of chamber music. The methodology, however, could be reused, if the definitions by authorities on chamber music that he quotes were accepted. 2769. Kurajdova, Ema. “Cinnost’ slovenskych hudobnokulturnych spolkov v Bratislave v medzivojnovom obdobi/Activities of Slovak MusicCultural Societies in Bratislava in the Interwar Period,” in MusicologicaSlovaca-et-Europaea, xxiii (2006), 141–63. After World War I, 2 newly founded Slovak music societies participated in the concert life of Bratislava: Osvetovy Zvaz pre Slovensko and Umelecka Beseda Slovenska. Both societies had foreign as well as Slovak performers and both societies used music composed by foreign as well as Slovak composers. The seasonal symphonic concerts organized between 1926 and 1938 by the Osvetovy Zvaz pre Slovensko lasted longer than any other concert series before World War II. Umelecka Beseda Slovenska organized mostly concerts of chamber music, presenting performers from Bratislava, Bohemia, and Moravia. 2770. L’Esperimento musicale: “il 29 giugno 1864 diede primo saggio di sé la milanese Società del Quartetto.” Milan: Scheiwiller, 2004. ISBN 8876444319. 124 pages. The Società del Quartetto was founded in 1864 in Milan by Arrigo Boito, Tito Ricordi, Franco Faccio, and Filippo Filippi in order to bring

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the finest instrumental music before the public at the Conservatory. The first concert included Mozart’s G major String Quartet, Mendelssohn’s Op. 2 Piano Quartet, Beethoven’s Septet Op. 20, and Beethoven’s Piano Sonata Op. 31, No. 2. Shortly thereafter the society also presented orchestral concerts and brought in world famous performers, and by the end of the 19th century choral works were performed as well. The society still exists, with its original mission—to present chamber music—much less observed. This book contains 4 historical essays on the society, a poem, and a facsimile of the original statutes of the society drawn up by Boito. There are also portraits of the founders and some early composers represented on the programs. 2771. Labrador, Gennán. “Música y vida cotidiana en la corte española (1760–1808): la afición musical de Carlos IV,” in Ad Parnassum, iii, No. 6 (October 2005), 65–98. Carlos Antonio de Borbón, who was Prince of the Asturias (1760– 1788) and then Carlos IV, King of Spain (1789–1808), was a welltrained violinist with a passion for music. This is revealed by the number of instrumentalists surrounding him, the type of instrumentalists (violinists, violists, violoncellists, harpsichordists), and the repertory that was added to the court archives 1761–1808. As prince, he probably played the violin-bass sonatas, trio sonatas, and string trios of Gaetano Brunetti and Felipe Sabatini, both of whom served Carlos, and later those of Francisco Brunetti (son of Gaetano and his successor in 1803), Manuel Espinosa, Kozeluch, and Mozart. From at least 1775, he may have played in string quartets and quintets by Haydn, Gaetano Brunetti, Capuzzi, Hoffmeister and Fiala. At this time, Boccherini served Carlos’ brother Luis. Once Carlos became king, he continued his interest especially in the string quartets, viola quintets, and sonatas of G. Brunetti, Haydn, Pleyel, Rosetti, Teyber, Wranitzky, Gyrowetz, Viotti, and Rolla. For suggestions on improving the patronage of chamber music see: 2772. Benedict, Stephen. Opportunities in Chamber Music: Report on a Meeting. Washington, D.C.: Cultural Resources, Inc., 1979. ML 1111.B46. iii + 20 pages. Benedict produces a report of a meeting in Washington of artists, arts managers, and philanthropic officers, to explore ways of strengthening American chamber music institutions under the aegis of the National Endowment for the Arts. He deals with professional chamber music only; but he does include vocal chamber music. He covers many practical topics affecting the careers and livelihood of chamber musicians.

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WOMEN’S STUDIES 2773. Hoffmann, Freia. Instrument und Körper: die musizierende Frau in der bürgerlichen Kultur, in Insel Taschenbuch, No. 1274. Frankfurt am Main: Insel Verlag, 1991. ISBN 3-4583-2974-9. ML82.H64.1991. 475 pages. In order to understand how sexual stereotypes for music came about, Hoffmann studies the role of women in middle class society in German-speaking countries between 1750 and 1850. Chamber music is hardly mentioned and is treated within other subjects: for example, women playing string quartets in public is discussed as part of the professional performances of female violinists (page 185), whose clothing was as much part of the criticism as the playing. For Violin Music by Women Composers, see 121. The selections cover several centuries and nationalities, and the book also includes brief biographies. 2774. Leung-Wolf, E. “Women, Music and the Salon Tradition: Its Cultural and Historical Significance in Parisian Musical Society.” PhD dissertation. University of Cincinnati, 1996. 2775. New York Women Composers, Inc. Catalog: Compositions of Concert Music. North Tarrytown (NY): New York Women Composers, Inc., 1991. 129 pages. One category of works cited is chamber music. See 171 for a catalogue of solo and ensemble works by Black women composers. 2776. Zaimont, Judith L. “String Quartets by Women: Report on Two Conferences,” in Musical Women, ii (1987), 378–87. For piano trios by American women composers, see 422. 2777. Rothenberg, Florie. “Music for Clarinet and String Quartet by Women Composers.” DMA dissertation. University of Arizona, 1993. DAI Vol. lv (September 1994), p. 416A. 126 pages. A simple comparison of quintets by Zwilich, Maconchy, and Ilse FrommMichaels is followed by a less detailed comparison of 17 other quintets. See also 1800 for a treatise on feminist theory and Fanny Mendelssohn. EARLY RECORDINGS OF CHAMBER MUSIC 2778. Forman, Frank. “Acoustic Chamber Music Sets (1899–1926): Discography,” in Association for Recorded Sound Collections Journal,

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xxxi (Spring 2000), 70–104; xxxi (Fall 2000), 244–75; xxxii (Spring 2001), 44–94. Forman produces a list of 215 recordings of 158 pieces of chamber music recorded internationally from 1899 to 1926, prior to electronic recording. Single-sided, single disc recordings are omitted, but chamber music arrangements are on the list. This is well researched. Given the variables in recording techniques at the time, it is nonetheless an invaluable source for discovering the sound of chamber music as it actually was heard in the 27-year period covered. The list is organized by composer, composition, and performers, with data on recording, label, reissue, reviews, and much more. Part I defines the scope of the list and lists composers from Arensky to Elgar; Part II lists composers from Fauré to Wieniawski; Part III deals with recapitulation, and has several addenda, plus various indices including information on many performers and bibliographies. 2779. Mackenzie, Compton. “Chamber Music on the Gramophone,” in The Gramophone, ii (1924–5), 273–5, 364–5, 406–11. A review of chamber music recordings owned by Mackenzie in 1924. The excitement of Mackenzie, editor of The Gramophone, at possessing the few, often partial recordings of violin-piano sonatas, string quartets and piano trios available at the time is historically instructive for modern readers for whom almost everything is readily available in near-perfect reproduction. He also talks about the educational value of such recordings. 2780. Morrill, Dexter. The American String Quartet: A Guide to the Recordings. Hamilton (NY): Chenango Valley Music Press, 2003. ISBN 0974732907. ii + 294. A valuable discography listed chronologically by ensemble and record label. It focuses on the performances and sound quality rather than on composers and compositions. MUSIC THERAPY 2781. Lee, Colin A. “Reflections on Working with a String Quartet in Aesthetic Music Therapy,” in Voices: A World Forum for Music Therapy, i (November 2003), 3. A music therapist proposed that music could be a tool in dealing with tensions normally found in a professional string quartet. He began clinical sessions with the Penderecki String Quartet in order to see if clinical improvisation affected the quartet’s concert playing

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outside sessions and how the interpersonal relationships of the quartet could be explored through the musical dialogue. This report comes after 2 such sessions, with 10 more contemplated. Lee gives a brief account that stumbles on bad grammar but eventually makes its point. EDUCATION Many collections of chamber music are for beginners, such as Wesley Sonntag, ed., An Introduction to String Quartet Playing: A Collection of Movements from the Early Quartets of Haydn and Mozart (New York: S. Fox, [1963]), MT 728. S66I6, and only a few have more advanced written instructions. 2782. Booth, Roscoe Martin. “Baroque String Chamber Works Incorporating Techniques Essential to the Development of Performing Ability of Violinists.” EdD dissertation. Colorado State College, 1964. UMI 64–10601. DA xxv.5, p. 3015. 202 pages. Booth chooses 12 works by known composers written between 1685 and 1756 that can be used by high school violin students to enhance right arm and left hand techniques. His findings sound naive to anyone with more than a modicum of violin playing or listening experience. He does not make it clear whether the ensembles are chamber or orchestral. For assistance in listening to selected 20th-century string quartets, see Mary Beth Walker’s dissertation 270. 2783. King, Elaine C. “The Roles of Student Musicians in Quartet Rehearsals,” in Psychology of Music, xxxiv (April 2006), 262–82. King studies the collaboration between student musicians in the rehearsals of a university wind quartet, saxophone quartet, and string quartet over 4 weeks. She looks for leadership issues and how they affect the performance of the ensemble. 2784. Zorn, Jay Daniel. “The Effectiveness of Chamber Music Ensemble Experience for Members of a Ninth Grade Band in Learning Certain Aspects of Music and Musical Performance.” MED dissertation. Indiana University, 1969. UMI 70–11945. DAI xxxi.1A, p. 420. 151 pages. Zorn compares the results of groups of students rehearsing in chamber ensembles with the results of students performing in band sectionals and finds no musical differences other than attitude: the attitude of those in chamber ensembles improved significantly.

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2785. Sagul, Edith. “Development of Chamber Music Performance in the United States.” EdD dissertation. Columbia University, 1952. Summarized in 3 articles: 1) “Audience Education for Chamber Music,” in Etude, lxxi (March, 1953), 18, 58, 64. After analyzing the status of chamber music activities in 30 of the largest cities in the United States and 168 institutions of higher education with music departments, Sagul found very little being done to educate audiences about chamber music other than just concerts. This contrasts sharply with orchestra and opera programs. However, things are seen to be improving. The National Association of Amateur Chamber Music Players, founded by Mr. L.A. Strauss of Indianapolis, encourages more amateurs to play chamber music, and Young Audiences, Inc., founded by Mrs. Nina Perrera Collier of Darlington, Maryland, brings performers to schools. Sagul describes how the New Music Quartet functions with children in such a situation. 2) “The Developing Interest in Chamber Music,” in Educational Music Magazine, xxxii (March–April, 1953), 26, 34–40. Sagul finds healthy the role of colleges in preparing and educating students and community in chamber music by participation, professional ensembles-in-residence, variety of scoring, concerts, expanding repertoire, study of chamber music in general and specific courses, encouraging professionals, and creating an audience. She surveys what specific colleges are doing in order to make all colleges aware of what the others are doing. 3) “Problems and Possibilities of Chamber Music,” in Music Journal, xiv (October 1956), 28–9. Sagul sees 2 areas of concern for the expansion of chamber music in America: the first is to expand the concept of chamber music from merely string quartets to all kinds of chamber music, with an increased repertory; the second concern is the need to educate the public to chamber music. 2786. Latten, James E. “Chamber Music for Every Instrumentalist (Why Every Student Instrumentalist Should Participate in Chamber Music Ensembles and the Ways of Providing This Opportunity),” in Music Educators Journal, lxxxvii (March 2001), 45–53. Latten believes that all students should play in chamber ensembles to improve their listening skills as well as their playing abilities. It improves their sense of rhythm, intonation, phrasing balance, and

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teamwork and allows for development of personal styles. This is an important essay to support the theory that playing chamber music positively influences the development of children’s social behavior and organizational skills. Latten gives specific organizational plans for the school curriculum. His concern is with band instruments only. For instruction on chamber music listening for lay audiences there are many articles and books. See, for example, Alfred Heuss’s Kammermusikabende 725. 2787. Hughes, Charles William. Chamber Music in American Schools. New York: Freybourg Printing Co., 1933. MT 728.H87. iii + 205 pages. Publication of PhD dissertation. Columbia University, 1933. Hughes is concerned primarily with the educational values in teaching chamber music in schools: it teaches initiative and individual learning, as opposed to group cooperation in orchestras and large choruses, and it teaches the child to play in ensemble and go beyond being a passive listener. He describes the social background for “chamber music” in various societies, and then the training of the professional or amateur to fulfill these roles; he includes folk music, organ music, pre-17th-century music, concerto grosso, symphonies, and orchestral works. Although the history is often simplistic, the treatment of ethnic music naive, and the bibliographies and discography out-dated, the basic thesis on the value of chamber music in education is valid. 2788. National Association of Schools of Music. Chamber Music: Performance and Study at Music Training Institutions. Reston (Virginia): N. A.S.M., 1982. MT 728.N25.1982. iii + 49 pages. A statistical survey of the teaching of chamber music at 413 American schools of higher education belonging to the N.A.S.M. Collectively, for example, over 6,000 student chamber concerts were given in 1 year to approximately 450,000 audience members, and about 1,800 ad hoc faculty chamber ensemble concerts for over 210,000 people. Questions were asked pertaining to facts and to attitudes; distinctions were made as to resident faculty ensembles, ad hoc faculty ensembles, guest faculty ensembles, undergraduate and graduate ensembles. The academic requirements were also analyzed. This survey includes a bibliography of chamber music bibliographies. For an important account of the 19th-century German music pedagogue Carl Reinecke, see Karl Fellerer’s study 726. See also August Reissmann’s Die Hausmusik 707. 2789. Smith, Terry Fonda. “Chamber Music Presentations for Early Childhood Audiences: Creating a Developmentally Appropriate Model.”

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DMA dissertation. University of Rochester, Eastman School of Music, 2000. DAI, lxi (August 2000), p. 541A. vi + 168 pages. Smith studies what makes appropriate chamber music performances for children between the ages of 0 and 7 years. While such studies and programs for opera and symphony exist, this is the first major study for chamber music. By reviewing the literature on performing chamber music for older children and on music in general for the younger group, Smith observes how the theories hold up in practice in 2 groups that actually perform for such children: the Carnegie Hall “Carnegie Kids” program and the Litton Chamber Music Series “Peanut Butter and Jam Sessions.” Smith then proposes a model for such presentations. 2790. Solondz, Simone. “Bows in the Hood: How One String Quartet Makes a Difference in its Home City,” in Strings, xx, No. 2 (August– September 2005), 57–9. Solondz writes about the residency of the Providence String Quartet in the Olneyville neighborhood of Providence that teaches povertystricken children how to play in chamber groups. It is supported by Community MusicWorks, a non-profit organization founded by Sebastian Ruth, a member of the quartet. 2791. Crone, Tan. “Kamermuziek voor Kinderen in Amerika,” in Mens en Melodie, xxi (1966), 108–10. Crone reports on Young Audiences and its impact on American children aged from 10 to 12 who hear concerts of 45 to 50 minutes long with discussion and questions about the music, the musicians, and the instruments. It has 640 young musicians who form all sorts of chamber groups that then play 5,300 concerts a year in 26 states. 2792. Villarrubia, Charles. “Chamber Music: Skills and Teamwork,” in Teaching Music, vii (June 2000), 38–42. Online. Some basic suggestions for teaching chamber music performance to young wind players in a school band. 2793. Watson, J. Arthur. “String Chamber Music: The Lesser Combinations,” in Music and Letters, x (1929), 292–8. Watson comments on the large numbers of competent amateur players of strings in England, and tries to guide these amateurs to literature other than string quartet and piano trio. He begins with works for 2 strings (2 violins, violin + viola, violin + cello), 3 strings, and then 1 or 2 strings with piano. Watson does not produce a list but offers a few representative examples, including a few arrangements.

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2794. Barr, Jean M. “Chamber Music Database Now on MTNA Website,” in American Music Teacher, liii (February–March 2004), 79–80. Barr lists elementary- to intermediate-level works for 3 or 4 instruments, including piano. 2795. Standen, B.P. “Children and Chamber Music,” in Music and Letters, xiv (1933), 51–4. Standen recognizes the value to character-building that chamberplaying gives to youngsters, and makes suggestions about how average children can partake. He cautions the piano accompanist to learn to subdue his or her eagerness for the sake of the ensemble. He mentions arrangements suitable for the child. Standen claims that orchestral playing can be a disaster for the child. 2796. Pancernova, T. “The Path to Chamber Music,” in Ljudmila Miheeva, ed., Muzyka-detjam: Voprosy Muzykal’no-Esteticeskogo Vospitanija, Vol. 3. Leningrad: Muzyka, 1976. RILM 76–4206. In Russian. A contribution to the aesthetics of music education. ICONOGRAPHY Many studies include pictures that aid an understanding of chamber music. Sometimes they indicate how or where chamber ensembles assembled, the instruments used, performance practices, and types of audiences. In a few iconographic studies the illustration is the focus of the study. 2797. Schwab, Heinrich W. Konzert: Öffentliche Musikdarbietung von 17. bis 19. Jahrhundert, in Musikgeschichte in Bildern, Band 4: Musik der Neuzeit, Lieferung 2. Leipzig: VEB Deutscher Verlag für Musik, 1971. ML 89.M9.Bd.4, Lfg. 2. 230 pages. A discussion of 165 illustrations of concerts primarily in Europe from the 17th through the 19th centuries. 2798. Salmen, Walter. Haus-und Kammermusik: Privates Musizieren im gesellschaftlichen Wandel zwischen 1600 und 1900, in Musikgeschichte in Bildern, Band. 4, Lieferung. 3. Leipzig: VEB Deutscher Verlag für Musik, 1969. ML 89.M9. 203 pages. With 1 exception, Salmen gives 117 black-and-white reproductions of paintings and drawings, mostly of chamber ensembles made up of amateurs in private rooms. Each illustration is described, dated, and located, and then briefly discussed historically with a commentary on the performers, instruments, music performed, social situation, and significance. Salmen includes some vocal and solo keyboard music,

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too. A lengthy introduction defines Hausmusik and then gives a history of it with reference to some of the illustrations. Salmen also defines chamber music and salon music and different genres of chamber music, and considers the special circumstances, instruments, social conditions and so on of different periods. 2799. Heartz, Daniel. “Portrait of a Court Musician: Gaetano Pugnani of Turin,” in Tilman Seebass and Tilden Russell, eds, Imago Musicae I: 1984 (International Yearbook of Musical Iconongraphy) (Basel/ Kassel/London: Bärenreiter/Durham [NC]: Duke University Press, 1984), 103–119. ML 85.I42 Vol.I. Heartz gives a biography of Pugnani with 4 black-and-white drawings and paintings, 1 beautiful full-page color portrait, 1 title page, and 1 facsimile. He identifies the music in the portrait (trio sonata) and gives the movement (3 musical examples). 2800. Finlay, Ian F. “Musical Instruments in 17th-century Dutch Paintings,” in The Galpin Society Journal, vi (1953), 52–69. Finlay is concerned with 17th-century Dutch representations of musical life in the homes of ordinary Dutch citizens. The paintings are accurate in details; little is fanciful. He discusses the instruments shown, proceeding systematically instrument by instrument from strings to winds, keyboard, percussion and miscellaneous. He mentions ensembles that occur commonly: violin + gamba, violin + lute + gamba, violin + lute, lute + transverse flute, lute + gamba, violin + bagpipes, and violin + cittern. 2801. Pilipczuk, A. “Das Musizieren am Tisch: ikonographische Bemerkungen zur Spielpraxis vom Spätmittelalter bis zur Einführung des Quartett-Tisches im 18. Jahrhundert,” in Die Musikforschung, xxxii (1979), 404–16. Pilipczuk discusses the shape and function of musical tables—furniture—around which musicians sat while playing ensemble music, especially in the 17th and early-18th centuries. These tables and the musicians are often represented in porcellan paintings. 2802. Ulsamer, Josef, and Klaus Stahmer. Musikalisches Tafelkonfekt. Würzburg: Stürtz, 1973. ML 1100.U43. ISBN 3-8003-0066-4. 95 pages, 76 illustrations, 8 musical examples, accompanying 7” LP record. This is a multimedia book (art, music, and German history) that traces the use of music at tables primarily in Germany and the Low Countries from c.1400 to c.1970 with most of the material c.1600– 1790. It is designed for the layperson, and is non-scholarly in its

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overall approach and text; but the paintings and drawings are valuable for the chamber music scholar as well in their depiction of specific instrumental (sometimes also vocal) ensembles. Ensembles vary from 1 instrument to 10 or so. They played in a variety of social situations: sometimes as chamber music, sometimes as Hausmusik, sometimes to aristocratic, and at other times to peasant or bourgeois audiences. They are grouped according to these situations. 2803. Leppert, Richard David. “Musical Instruments and Performing Ensembles in Flemish Paintings of the Seventeenth Century.” 3 vols. PhD dissertation. Indiana University, 1973. UMI 74–392. DAI xxxiv.8A, p. 5232. 551 pages. An analysis and catalogue of the musical content of 770 Flemish paintings. It is suggested that this represents half the total number of such surviving paintings; those omitted here include anonymous paintings and mythological representations of music. The emphasis is on the social functions of the instruments. See also Holzbauer 1418 and Gert Oost, “Die Bedeutung der niederländischen Hausorgel in der Kammermusik der ersten Hälfte des 18. Jahrhunderts,” in 213, pages 34–46. FILMS 2804. Sheer, Miriam. “The Godard/Beethoven Connection: On the Use of Beethoven’s Quartet’s in Godard’s Films,” in The Journal of Musicology, xviii (Winter 2001), 170–88. This is an interesting study of how a leading film director, Jean Luc Godard, used some of Beethoven’s string quartets, especially the late ones, as important parts of his movies. Sheer shows Godard’s fascination with these quartets and the roles that they play in Le nouveau monde (1962), Une femme mariée (1964), Deux ou trios choses que je sais d’elle (1966), and Prénom Carmen (1983–1984). The music interacts with the other elements of the films to create the whole artistic result and, although Beethoven’s music is interrupted and reworked, it is an important modern-day facet of the influence of chamber music on other media.

Subjects Index A Absolute music. 690, 2137, 2384 Accordion. 40, 170, 1346, 2053 Acoustics. 27, 382, 2473, 2541, 2593–94, 2778 Aleatoric. 173, 1701, 1942, 2077 America. See United States of America American Music Center Library. 41 Amsterdam. 64, 362, 1304, 1759, 2711 Anacreonic Society. 531 Armenia. 474, 648, 2655 Arpeggione. 2212, 2218 Atenteben. 96 Atonality. 10, 745, 784, 816, 820, 827, 1082, 1259, 1324, 1496, 1708, 1724, 1752, 1992, 2061, 2094, 2109, 2120, 2126, 2139, 2144, 2155, 2255, 2291, 2330, 2368, 2393–94, 2396, 2407–8, 2411, 2436 Australia. 58, 475, 2253, 2615, 2682 Austria. 63, 135, 217, 238, 240, 241, 275, 279, 299, 345, 443, 444, 476–87, 556, 575, 627, 708, 785, 828, 911, 1499, 1864, 1947, 2252, 2415, 2443, 2733 Azerbaijan. 488, 648 B Bachmann Collection. 49 Bagpipes. 2800 Baryton. 114, 442, 1585–90 Bass. 132, 133, 240–42, 290, 297, 299, 323, 361, 364, 377, 390, 401, 405, 406, 408, 424, 437, 445, 448, 449, 450, 514, 596, 700, 782, 793, 1054, 1067, 1100, 1115, 1117, 1120, 1124, 1155, 1208, 1230, 1233, 1236, 1243, 1386, 1421, 1447, 1483, 1492, 1494, 1499, 1584, 1585, 1595, 1623, 1624, 1654, 1676, 1680, 1683, 1699, 1740, 1741, 1747, 1759, 1850, 1856, 1917, 1942, 1959, 1977, 2037, 2082, 2179, 2327, 2340, 2356, 2374, 2377, 2430, 2437, 2438, 2478, 2528, 2543, 2575, 2591, 2592, 2605, 2694, 2771 Bass clarinet. 150, 152, 2009, 2252 Bass trombone. 166, 375, 1452 Bass viol. 306, 466, 469, 518, 522, 566, 1499, 2015, 2567

732

Basset horn. 2700 Bassetl (violoncello). 240, 249 Bassett-klarinette. 1939 Basso continuo. 211, 213, 286, 323, 334, 553, 680, 762, 1097, 1122, 1231, 1305, 1489, 2082, 2379, 2383, 2575, 2591 Bassoon. 47, 88, 90, 92, 100–101, 119, 153–54, 167, 169, 312–13, 342, 346, 351, 357, 368–69, 390, 392, 884, 1058, 1070, 1089, 1093, 1124, 1206, 1273, 1317, 1446, 1591, 1622, 1624, 1692, 1698, 1733, 1940–41, 1977, 2045, 2334, 2370–71, 2437, 2572, 2574 Bath. 532 Beethoven-Haus. 1036, 2438 Belgium. 489, 573, 2588, 2671, 2743 Belorussia. 648 Berkshire Festival. 2747 Berlin. 213, 222, 223, 305, 317, 321, 785, 1037, 1050, 1067, 1207, 1223, 1590, 1762, 1928, 1982, 2019, 2143, 2601, 2715 Beroun (Bohemia), Bezirksarchiv. 62 Biedermeier. 482, 708, 1485 Bodleian Library. 65 Bohemia. 62, 195, 210, 213, 234, 252, 279, 348, 633, 675, 1499, 1944, 2322, 2614, 2769 Bologna. 290, 293, 309, 1125, 1269, 1305, 1724, 2351 Boston. 43, 494, 664, 2759 Brass. 37, 38–39, 75, 94, 104–8, 136, 143, 147, 156, 158, 160–62, 165–66, 168, 191, 345, 370–88, 390, 394, 397–98, 463, 471, 551, 617, 623, 668–69, 1247, 1394, 1440, 1697, 2004, 2049, 2306, 2474, 2573, 2614, 2698 Bratislava. 2452, 2669, 2769 Brazil. 11, 490, 2370, 2371, 2695 Brillant. 258, 260, 439, 560, 970, 1111, 2317, 2388 British Broadcasting Corporation (BBC). 55, 198, 299, 818, 899, 1139, 1510, 1801, 1845, 2103, 2180 British Library. 314, 516, 1682, 1865 British Museum. 314, 1865 British Music Informaton Centre. 54 Brookline. 2759 Brussels. 484, 1325, 2743 Bulgaria. 491–92, 859, 2610

Indices C Canada. 493–97, 2682 Canzona. 1, 234, 283, 284, 286, 287, 292, 293, 302, 311, 446, 463, 478, 505, 526, 594, 595, 712, 817, 1268, 1269, 1435–38, 1772, 2136, 2561, 2584, Canzonetta. 1808 Carpentras. 2249 Celesta. 782, 2369 Central America. 1295 Chester Lending Library. 56 Chicago. 664, 1408, 1685, 2332, 2688, 2747 Chichester. 532 China. 498, 2265, 2422 Cittern. 2800 City University of New York. 67 Clarinet. 43, 47, 87, 90, 92, 97, 99–101, 116, 119, 145–52, 169, 330–31, 341–42, 345, 351, 359, 363–67, 390, 454–59, 462, 551, 553, 602, 669, 736, 815, 858, 873, 1056, 1058, 1068, 297, 1071–72, 1087, 1092, 1099, 1101, 1141, 1155–56, 1179–80, 1199, 1201–3, 1223, 1273, 1284, 1287, 1290, 1293, 1315, 1321, 1334, 1345, 1354, 1374, 1386, 1392–93, 1408, 1413–14, 1439, 1446, 1488, 1591, 1597, 1619, 1621, 1624, 1635, 1692, 1698, 1733, 1744, 1779, 1824, 1827, 1831, 1835–36, 1846, 1913, 1937–38, 1941, 1973, 1877, 1991, 2009, 2023, 2029–30, 2033, 2039–42, 2044–45, 2084, 2095, 2178, 2237, 2250, 2252, 2305, 2307, 2334, 2358, 2389, 2390–91, 2416, 2422–23, 2430–31, 2436–37, 2441, 2453, 2487, 2563, 2569–71, 2574, 2579, 2700–701, 2721–22, 2728, 2777 Clarino. 310, 312 Clarion Foundation. 2734 Cleveland. 900, 2750 Coda. 950, 1010, 1036, 1065, 1158, 1170, 1174, 1176, 1260, 1330, 1356, 1629, 2276 Coleman Chamber Concerts. 2754 Collegium musicum. 799 Composers’ Forum. 667 Concertant. 1, 235, 239, 251–52, 255–56, 260, 284, 294, 316, 320, 338, 408, 410, 429, 436, 439, 445, 453, 558–59, 1087, 1099, 1111, 1117, 1209, 1242, 1448, 1660, 1711, 1741, 1774, 1840, 1863, 1991, 2389, 2503, 2563 Concertato. 813, 1268 Concerted. 148, 210, 319, 807, 2234, 2453 Concertino. 234, 807, 1044, 1318, 1368, 1501, 1584, 2330, 2332–33, 2390, 2700

733 Concertino a Quattro. 234 Concertmaster. 1303, 2467, 2711 Concerto. 13, 88, 98, 128, 148, 150, 157, 182, 206, 234, 239, 247–49, 286, 313, 320, 330, 380, 399, 431, 444, 446, 455, 478, 488, 505, 560, 573, 626–27, 680, 686, 698, 707, 785–86, 795, 799, 1049, 1084, 1087, 1111, 1124, 1156, 1207, 1281, 1295, 1315, 1368, 1381, 1445, 1467, 1488, 1522, 1584, 1621, 1628, 1656, 1747, 1758, 1785, 1822, 1836, 1843, 1861, 1867, 1869, 1909, 1926, 1942, 1946, 2009, 2029, 2039, 2050, 2056, 2071, 2077, 2152, 2272, 2307, 2318, 2327, 2340, 2346, 2351, 2357, 2372, 2374, 2378–79, 2389, 2392, 2419, 2438, 2503, 2550, 2770 Concerto-caprice. 1758 Concerto grosso. 573, 681–82, 686, 1297–98, 1786, 2095, 2326, 2787 Consort. 1, 21, 30, 90, 237, 299, 466, 510–20, 524–25, 527, 534, 1238, 1291, 1679, 1683, 1734–36, 1760, 2013–14, 2017, 2350, 2453, 2457, 2467, 2476 Contrabass. 449, 2430 Contrabassoon. 153 Conversation. 203, 215, 225, 234, 236, 439, 558, 608, 683, 703, 727, 732, 733, 892, 979, 1241, 1462, 1524, 1542, 1643, 1867, 2108, 2515, 2627, 2639 Coolidge Foundation. 2747 Cornet. 105, 1654, 2314, 2694 Cornett. 392, 394 Cornetto. 312, 408 Croatia. 499, 1478 Cuba. 2756 Cubism. 1333, 2128 Cyclic. 234, 267, 414, 670, 738–39, 867, 870, 933, 937, 944–45, 967, 1015, 1104, 1161, 1170, 1210, 1327–28, 1404, 1419, 1424–25, 1467, 1615, 1671, 1712, 1741, 1811, 1846, 1873, 1982, 1990, 2093, 2197, 2229, 2233, 2284, 2296, 2336, 2361, 2423 Czechoslovakia. See also Bohemia. 500–504, 1094, 1360, 1362, 1373, 1685, 1710, 1721, 1780–81, 1841, 1986, 2307, 2311, 2522, 2605, 2610, 2614, 2628–30, 2645 D Danzig. 505 Denmark. 279, 294, 506–9, 969, 1071, 1722, 1571 Des Knaben Wunderhorn. 1205 Discographies. 33, 39, 46, 111, 121, 136, 183–85, 197, 221, 253, 420, 496, 1271, 1273, 1488, 1514, 1654, 1656,

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Chamber Music: A Research and Information Guide

1686, 1835, 2010, 2022, 2031, 2269, 2319, 2606, 2617–18, 2638, 2681, 2683, 2693, 2710, 2718, 2778, 2780, 2787 Divertimento. 65, 234, 238–40, 243, 248, 252, 257, 405–6, 424, 442, 444, 479–81, 576, 1096, 1270, 1441, 1447, 1499, 1501, 1509, 1519, 1583–85, 1591, 1593, 1595, 1850, 1852, 1856, 1862, 1902, 1911, 1930, 1940, 2528, 2563 Dixtuor. 349 Dodecaphonic. See Row. Dolmetsch Foundation. 21 Donaueschinger Kammermusikaufführungen zur Förderung zeitgenössicher Tonkunst. 272 Doria-Pamphili. 1297 Duet. 1, 3, 40, 51, 56, 97, 99, 105, 110–11, 125, 126, 132, 150, 152, 160, 177, 212, 360–61, 364, 366, 387, 399, 436–38, 537, 632, 669, 682, 688, 706–7, 1071, 1077, 1094, 1243, 1308, 1315, 1344, 1441, 1444, 1466, 1483, 1696, 1723, 1747, 1838, 1844, 1944, 1986, 2012, 2026, 2234, 2315, 622, 2372, 2569, 2604, 2614, 2682, 2705, 2731 Duo. See Duet. E Eastman School. 144, 395, 1093, 1291, 2718 Eisenstadt. 1513, 1636 England. 61, 69, 83, 113, 126, 187, 198–99, 210, 212, 220–21, 223–24, 234, 250, 258, 269, 275–76, 279, 286, 299, 302–3, 305–6, 314, 320, 345, 368, 372, 429, 437, 447, 455, 461, 463, 466–68, 510–44, 573, 575, 604, 622, 687, 729, 818, 1201, 1233, 1238, 1243, 1291, 1297, 1302–3, 1306, 1490, 1524, 1574, 1592, 1625, 1676, 1682, 1734–35, 1760, 1969, 2029, 2267, 2527, 2682, 2691, 2699, 2729, 2745, 2766, 2793 Electric piano. 2437 English horn. 143, 150, 351, 357, 1093, 1656–57 Equal. 381, 1066 Equestrian ballet. 388 Euphonium. 167, 185

1679–83, 1735, 1818, 2015, 2018, 2094, 2213, 2249 Finland. 545–51, 991 Flute. 90, 95, 101, 119, 125, 137–41, 213, 315, 317, 328–29, 340, 343, 346, 351, 356, 359–62, 390–92, 424, 438, 452, 461–62, 481, 575, 669, 786, 789–91, 795, 797, 802, 805–6, 809–13, 884, 1068, 297, 1071, 1096, 1100, 1122, 1124, 1132, 1206, 1241–42, 1265, 1270, 1273, 1278, 1313, 1321, 1327, 1329–30, 1344, 1378, 1386, 1396, 1446–47, 4589, 1493–94, 1502, 1572, 1592–93, 1620, 1635, 1639, 1654, 1657, 1675, 1692, 1713, 1720, 1722–23, 1759, 1771, 1782, 1835–36, 1838, 1846, 1863, 1932–33, 1942, 1945–46, 1955, 1968, 1973, 1977, 1986–87, 1989, 1998, 2012, 2019, 2023, 2043, 2045, 2082, 2095, 2305, 2383, 2388, 2426, 2430, 2437–38, 2536–37, 2550–51, 2564, 2574, 2584–85, 2612, 2800 France. 10, 12, 26, 30, 84, 86, 122, 167, 173, 193, 195, 210, 212, 215, 248, 253, 256, 275, 279, 282, 299, 320, 322–23, 325, 328, 332, 345, 360, 368, 400– 401, 408–9, 411–15, 429–30, 433, 437–38, 468–69, 471, 518, 542, 552–69, 573, 577, 604, 622, 624, 633, 664, 676, 680, 683, 687, 785, 800, 820, 867, 1099, 1100, 1117, 1123–24, 1170, 1229, 1242–43, 1272, 1308, 1310, 1313, 1325, 1345, 1398, 1403, 1405–6, 1410, 1424, 1431, 1444, 1471, 1483, 1631, 1634, 1660, 1699, 1739, 1741–42, 1781, 1785, 1786, 1832, 1863–64, 1958, 2023, 2071, 2249, 2473, 2533–34, 2566–67, 2569, 2584, 2717, 2737, 2752, 2768 French horn. 90, 105, 158, 345, 380, 691, 718, 2437, 2574 Fugato. 729, 852, 1520, 2121 Fugue. 252, 573, 699, 727, 729–30, 767, 871, 972, 982, 986, 992–93, 998–99, 1010, 1012–14, 1042, 1064, 1190, 1303, 1413, 1520, 1535, 1589, 1601, 1615, 1654, 1717, 1802, 1818, 1838, 1854, 1861, 1915, 2034, 2281, 2368, 2378, 2411, 2438, 2580

F Fagottini. 369 Fancy ( = fantasia). 468, 525, 1678 Fantasia ( = fantasy). 1, 214, 306, 334, 446, 455, 459, 463, 468, 514, 517–20. 526–27, 594, 727, 817, 1254, 1287, 1291, 1415, 1449, 1462, 1625, 1676,

G Gamba. See viol. Geneva. 2677, 2720 Georgia (SSR). 570–71, 647, 648 Georgia (USA). 396 Germany. 10, 13, 15, 45, 50, 195, 210, 212, 213, 217, 231, 234, 238, 239, 248,

Indices 269, 275, 279, 282, 286, 294, 296, 299, 302, 304, 321, 326, 336, 345, 348, 396, 401, 407, 418, 427, 429, 437, 443, 444, 446, 454, 471, 483, 562, 572–90, 592, 593, 601, 604, 622, 624, 627, 633, 644, 680, 682, 683, 684, 685, 690, 691, 701, 707–9, 711, 712, 716, 718, 726, 729, 761, 785, 820. 828, 871, 990, 1067, 1077, 1091, 1094, 1117, 1146, 1179, 1185, 1206, 1228, 1242, 1362, 1403, 1433, 1447, 1470, 1472, 1475, 1478, 1485, 1499, 1524, 1596, 1695, 1696, 1698, 1722, 1738, 1762, 1798, 1804, 1838, 1854, 1864, 1919, 1972, 2053, 2126, 2129, 2179, 2296, 2302, 2380, 2381, 2388, 2436, 2473, 2527, 2543, 2610, 2629, 2700, 2712, 2714, 2733, 2752, 2773, 2802 Gesellschaft der Musikfreunde. 626, 704, 1093, 1185, 1188, 1204, 2432 Glasgow. 540, Gouffé Séances. 563 Guitar. 125, 126, 175, 177–80, 441, 689, 1085, 1344, 1962–63, 2058, 2218, 2369, 2568, 2756 H Harlem Renaissance. 42 Harmoniemusik. 342, 348, 1591, 1848, 1941 Harp. 28, 168, 181–83, 559, 674, 782, 884, 1327, 1329, 1330, 1344, 1378, 1660, 1890, 2023, 2315, 2319, 2369, 2422, 2430, 2431, 2564 Harpsichord. 170, 172, 173, 237, 316, 405, 406, 424, 431, 466, 553, 795, 812, 1111, 1137, 1243, 1265, 1309, 1572, 1584, 1634, 1656, 1657, 1659, 1713, 1839, 1977, 2012, 2095, 2099, 2353, 2550, 2771 Hausmusik. 13, 20, 23, 190, 203, 221–24, 250, 416, 437–39, 484–85, 578, 590, 593, 627, 643–45, 673, 689, 703–13, 723, 726, 797, 939, 1234, 1485, 1753, 2426, 2466, 2469, 2568, 2584, 2788, 2798, 2802 Holland. See Netherlands Hungary. 591, 818, 832, 835, 845, 861, 879, 969, 1150, 1586, 1703, 1726, 2068, 2380, 2453, 2512, 2588, 2605, 2719 I In nomine. 517, 527, 2015 International Society for Early Music and Instruments. See Dolmetsch Foundatiion International Society for New Music. 272 Israel. 592–93, 1069, 1228

735 Italy. 50, 65, 66, 70, 84, 122, 164, 173, 190, 194, 195, 210, 234, 238, 239, 248–50, 258, 269, 279, 283, 284, 286, 287, 289, 292, 293, 297–304, 307–9, 311, 313, 315, 320, 360, 368, 401, 429, 430. 440, 444, 446, 463, 471, 476, 478, 519, 526, 533, 573, 578, 594–602, 604, 622, 633, 680, 682, 717, 729, 768, 785, 795, 867, 901, 969, 1088, 1111, 1113, 1117, 1122, 1124, 1129, 1233, 1236, 1241, 1242, 1269, 1296, 1536, 1586, 1641, 1699, 1739, 1757, 1799, 1854, 1859, 1863, 1864, 1953, 1962, 1972, 1996, 2012, 2236, 2353, 2362, 2363, 2366, 2372, 2379, 2383, 2427, 2438, 2467, 2533, 2567, 2569, 2584, 2589, 2591, 2600, 2605, 2610, 2710, 2752 J Japan. 1928, 2576 K Kammermusikforeningen Copenhage. 507 Klavier. See piano Kneisel Hall. 51 Kromeriz. 310, 1094 Kuhmo Chamber Music Festival. 547–49 L Latvia. 915 League of Composers. 667 Lebouc Séances. 563 Leipzig. 260, 725, 798, 810, 812, 1472, 1721, 1807, 2527 Linz. 1066 London. 21, 54, 248, 402, 407, 410, 429, 483, 525, 531–32, 534–38, 541, 762, 976, 1050, 1062, 1201, 1270, 1287, 1305–6, 1416, 1448, 1499, 1570, 1576, 1838, 1863, 1907, 2271, 2372, 2487, 2577, 2600–601, 2617, 2663, 2690, 2702, 2715, 2725, 2737–38, 2744, 2753, 2756 Longy Club. 664 Los Angeles. 664, 2348, 2755, 2758 Louisville. 2757 Louisville Chamber Music Society. 2757 Lute. 175, 180, 451, 510, 519, 594, 595, 1318, 1735, 2568, 2800 Lyon. 400 Lyra Viol. 466, 519, 1449 M Madison. 2653 Madrid. 633, 634, 635, 689, 2735 Malmö Kammarmusikförening. See Smiths Kammarmusikförening

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Chamber Music: A Research and Information Guide

Manchester (England). 61, 275, 532, 542 Mandolin. 1635, 2568 Mannheim. 214, 321, 430, 444, 454, 479, 575, 622, 785, 1348, 1418, 1534, 1903–4, 2056, 2098–99, 2373, 2425, 2484 Masonic Movement. 1852, 1890 Milwaukee. 1698, 2693, 2697, 2718 Minuet. 239, 315, 481, 699, 735, 938, 1348, 1500, 1503, 1516, 1566, 1584, 1706, 1854, 1864, 1886, 2203, 2373, 2438 Moldavia SSR. 603, 648 Munich. 1903, 2056, 2425 Musical Entente Cordiale. 542 Musical Union. 2702, 2753 Music Educators National Conference. 2473 Musicians Guild. 2687 N National Association for American Composer and Conductors. 667 National Association of Amateur Chamber Music Players. 2785 National Association of College Wind and Percussion Instrument Instructors. 91 National Endowment for the Arts. 2772 National Federation of Music Clubs. 667 National Federation of Music Societies. 69 National Association of Schools of Music. 2788 Natonal Music Camp. 36 National School Band Association. 37–38 National Society of Music. 658 Netherlands. 210, 279, 362, 395, 573, 604–6, 1243, 1684, 1987, 1989, 2594, 2611, 2800 Newcastle. 532 New England. 656, 1647, 2689 New South Wales. 59 New York. 57, 358, 664, 824, 969, 1183, 1450, 1632, 1781, 2128, 2553, 2631, 2663, 2694 New York Chamber Music Society. 664 New York Public Library. 665, 1291, New Zealand. 18, 607–9 Nocturne. 1417, 1488, 1762 Nonet. 53, 56, 70, 349, 460, 884, 1287, 1292, 1294, 1344, 1421,1685, 1957, 2048, 2049, 2316, 2369, 2371 Norsk Komponistforeing. 612 Norway. 610–13, 717, 1467, 1468, 1471, 1475, 2707 Norwich. 532 O Oberlin. 746 Obligato. 213, 293, 317, 319–20, 326, 401, 405–6, 408, 423–25, 464, 575, 680,

785, 787, 790, 800, 803, 805, 812, 814, 1096, 1441, 1568, 1839, 1910, 2098, 2537, 2567 Oboe. 47, 90, 98, 100–101, 142–43, 149–50, 169, 342, 346, 351, 357, 390, 392, 463–64, 481, 511, 794–95, 1058, 1093, 1124, 1206, 1212, 1221, 1242, 1265, 1273, 1344, 1378, 1392, 1420, 1442–43, 1446, 1448, 1489, 1591, 1656–57, 1692, 1733, 1831, 1835–36, 1846, 1863, 1934–36, 1940–41, 1977, 1998, 2045, 2082, 2430, 2437, 2550, 2573–74 Oboe d’amore. 143, 464 Octatonic. 1133, 1707, 2405, Octet. 59, 78, 98, 160, 168, 344, 349, 384, 389, 446, 712, 722, 1063, 1065, 1590, 1599, 1621, 1698, 1792, 1801, 1803, 1805, 1821–22, 1837, 1941, 1944, 2185, 2200, 2331, 2333, 2337, 2604, 2607, 2756 Opera. 217, 223–24, 234, 239, 250, 260, 272, 290, 334, 366, 370, 378–79, 452, 534, 559, 578, 600–601, 622, 652, 692, 724, 1158, 1171, 1212, 1217, 1356, 1403, 1494, 1503, 1525, 1553, 1793, 1869, 1917, 2197, 2310, 2340, 2344, 2388–89, 2400, 2756, 2785, 2789 Organ. 50, 104, 108, 161, 170, 174, 213, 310, 408, 464, 465, 518, 519, 525, 596, 706, 817, 1235, 1268, 1373, 1424, 1449, 1625, 1680, 1683, 1735, 1747, 1943, 2015, 2787 Ornamentation. 85, 213, 727, 789, 1298, 1302, 1466, 1740, 1759, 1906, 1934, 1935, 2236, 2471, 2481, 2482, 2483, 2488, 2528, 2536, 2543, 2544, 2545, 2547, 2569, 2583 Oxford. 519, 524, 532, 541 P Paris. 50, 214, 232, 234–35, 248, 250–51, 255, 260, 324–25, 343, 352, 411, 438, 454, 483, 538, 553, 558–66, 568, 577, 846, 1111, 1114, 1122, 1229, 1242, 1267, 1277, 1375, 1471, 1552, 1628, 1660, 1744, 1785, 1826, 1863, 1907, 2002, 2074–75, 2099, 2373, 2378, 2482, 2580, 2681, 2733, 2739, 2774 Passacaglia. 446, 1213, 1570, 1615, 2097, 2384 Percussion. 39, 75, 91, 94, 104, 136, 140, 147, 151, 152, 165, 168, 176, 345, 460, 470, 819, 821, 823, 1263, 1273, 1496, 1973, 2430, 2437, 2474, 2800 Piano quartet. 1, 117, 204, 206, 426–31, 734, 883, 1071, 1152, 1154–56, 1164, 1187, 1193, 1242, 1292–93, 1357,

Indices 1368, 1389, 1396, 1409, 1447, 1635, 1738, 1762, 1767, 1788, 1838, 1847, 2244–48, 2253, 2534, 2729, 2770 Piano quintet. 1, 118, 203, 217, 425, 428–29, 432–35, 720, 753, 784, 887, 1060, 1071, 1090, 1107, 1141, 1144, 1154, 1195, 1196, 1198, 1356, 1371, 1381, 1384, 1398, 1426–28, 1433, 1447, 1465, 1467, 1635, 1685, 1711, 1762, 1784, 1794–95, 1912, 1957, 2048, 2050, 2123, 2228, 2229, 2247–49, 2297, 2453, 2489 Piano sextet. 40, 774, 795, 1070, 1273, 1293, 1354, 1657, 1842, 1958 Piano trio. 1, 52, 113–14, 203–4, 399–429, 458, 473, 488, 541, 560, 567, 627, 687, 720, 734, 736, 787, 890, 1043, 1046, 1048–50, 1071, 1090, 1141, 1154, 1157, 1181–82, 1185, 1284, 1343, 1386, 1389, 1398, 1420, 1427, 1447, 1458, 1499–1500, 1503, 1531, 1551, 1567–83, 1627, 1635, 1698, 1711, 1733, 1738, 1762, 1770, 1776, 1782, 1799–1800, 1838, 1908, 1911–14, 1957, 1964, 1987, 2023, 2027, 2050, 2058, 2063, 2073, 2181, 2185, 2215, 2225–27, 2229, 2243, 2289, 2296, 2320, 2345, 2352, 2380, 2382, 2424, 2445, 2487, 2548, 2557, 2558, 2681 Piccolo. 119, 140, 1273, 1446 Poland. 108, 279, 573, 614–17, 680, 785, 969, 1352 Postmodernism. 691, 1019, 2053, 2061, 2063, 2090, 2446, 2657 Prague. 260, 503, 504, 926, 1359, 1941, 2614, 2629–30, 2645, 2692 Program music. 217, 484, 496, 581, 690, 693, 701, 785, 1000, 1079–80, 1131, 1164, 1239, 1241, 1384, 1414, 1511, 1644, 1649, 1663, 1666, 2106, 2113, 2116–17, 2124, 2289, 2384 Prussia. 223, 257, 562, 943, 1196, 1350, 1762, 1867, 1897, 1899, 2734 Q Quadro. 234, 239 Quartet sonata. 2378 Quartettino. 1113 Quatuor brillante. 1111, 2317 Quatuor d’airs. 1242, Quintet. 1–3, 95–96, 102–3, 105, 108, 113, 118, 142, 160, 169, 191, 203–4, 206, 217, 262, 344, 348–57, 371, 375–77, 386–87, 409, 425–29, 432–35, 444–45, 449, 453–54, 459, 494, 501, 560, 575, 624, 660, 664, 669, 682, 689, 696, 698, 712, 720, 727, 734, 736, 745–46,

737 753, 782–84, 815, 820, 883, 887, 899, 1058–65, 1068, 1071, 1090, 1101–2, 1107, 1109, 1113, 1117–18, 1128, 1141, 1144, 1146, 1151, 1154–57, 1188–90, 1194–1203, 1206, 1225–27, 1242, 1246–47, 1274, 1287, 1311, 1348, 1350–54, 1356, 1370–72, 1381–84, 1386, 1389, 1392, 1394, 1398, 1413, 1420–21, 1424, 1426–28, 1433–34, 1439, 1446–47, 1452, 1458, 1465, 1469, 1488, 1495, 1502–3, 1558, 1595, 1597, 1622, 1630, 1635, 1685, 1697–98, 1711, 1720–21, 1733, 1738, 1748, 1755, 1762, 1784, 1794–95, 1801, 1803, 1805, 1809, 1825, 1829, 1831, 1836, 1838, 1844, 1846–47, 1851–52, 1861, 1912–13, 1916–29, 1939, 1949–50, 1957, 1972–74, 1975–76, 1984, 1998, 2012, 2040, 2042, 2044–46, 2048, 2050, 2056, 2087, 2096–97, 2103, 2123, 2158–61, 2176–77, 2219–22, 2228–29, 2234, 2247–49, 2254, 2262, 2270, 2297, 2307, 2317, 2319, 2361, 2370–71, 2383, 2389, 2418, 2422–23, 2436–37, 2453, 2486, 2489, 2505, 2552–56, 2561, 2563, 2572–74, 2604, 2613–14, 2691, 2695–98, 2700, 2703, 2710, 2721, 2760, 2771, 2777 R Recorder. 141, 315, 328–29, 345–46, 390, 511, 797, 813, 1318, 1489, 1771, 2361, 2537, 2569, 2594 Recordings. 94, 177, 185–86, 275, 395, 496, 606, 612, 726, 746, 834, 848, 890, 935, 1009, 1141, 1359, 1803, 2057, 2108, 2252, 2269, 2480, 2488–89, 2321, 2525, 2536, 2556, 2559–60, 2590, 2609, 2637–38, 2653, 2657, 2671, 2682–83, 2710, 2712, 2716, 2778–80 Rheinland. 264, 726 Ricercar. 463, 594, 1791 Romania. 619, 907 Rome. 250, 286, 574, 598, 674, 684, 901, 2736 Rondo. 429, 682, 1024, 1348, 1566, 1703, 1762, 1936, 2121, 2387, 2417 Rost Codex. 50, Row. 707, 745, 746, 777, 779, 781, 1076, 1077, 1082, 1132, 1288, 1597, 1716, 1717, 1745, 2049, 2077, 2144, 2146, 2147, 2148, 2149, 2154, 2160, 2161, 2162, 2165, 2166, 2291, 2334, 2335, 2407, 2409, 2411, 2412, 2417, 2419 Rural Residency Program. 150 Russia. 195, 212, 221, 269, 275, 279, 336, 484, 620–29, 648, 652–53, 687, 769,

738

Chamber Music: A Research and Information Guide 820, 830, 915, 939, 969, 1128, 1146, 1394, 1417, 1452–53, 1699, 1818, 2093, 2289, 2322, 2532, 2623, 2630, 2666

S Salon. 214, 222, 482, 557–58, 568, 627, 711, 717, 723, 726, 1210, 1281, 1325, 1417, 2681, 2733, 2739, 2774, 2798 Saxophone. 37, 155, 168, 217, 358, 359, 460, 1312, 1439, 1452, 1697, 1787, 2369, 2416, 2691–93, 2783 Scandinavia. 36, 195, 269, 573, 627–29, 641, 685, 1469 Scherzo. 699, 861, 884, 930, 941–42, 959, 999, 1010, 1127, 1151, 1227, 1274, 1357, 1503, 1641, 1653, 1782, 1890, 2101, 2121, 2221, 2249, 2387, 2416, 2486, 2699 Séances populaires. 563 Septet. 78, 551, 795, 1090, 1386, 1635, 1696, 1842, 1942, 1957, 1987–89, 2095, 2200, 2221, 2305, 2334–35, 2770 Serbia. 630, 1344, 2767 Serenade. 239, 349, 479, 1068, 1332, 1595, 1704, 1850, 1862, 1930, 1940, 2427, 2592, 2690 Serial. 435, 742, 750, 854, 856, 860, 1072, 1083, 1239, 1319, 1446, 1641, 1690, 1779, 1942, 1977, 2077, 2120, 2145, 2159, 2162–2261, 2263, 2330, 2336, 2392, 2407, 2434 Sestetto. 2594 Sett. 518 Sextet. 2, 40, 78, 105–6, 459, 606, 682, 712, 774, 794, 795, 884, 1070, 1119, 1141, 1144, 1154, 1191–92, 1203, 1206, 1273, 1288, 1293, 1352, 1354, 1398, 1447, 1657, 1661, 1664, 1674, 1685, 1721, 1801, 1842, 1957, 1989, 2039, 2102, 2111, 2175, 2317, 2329, 2344, 2451, 2479, 2486, 2601, 2740 Sinfonia. 234, 239, 680, 785, 1231, 1241, 2563 Sliding tones. 2258 Smiths Kammarmusikförening. 641 Société Alard-Franchomme. 563 Société des Derniers Quatuors de Beethoven. 563 Société des Quatuors de Mendelssohn. 563 Société Moderne d’Instruments à Vent, La. 343 Société Sainte-Cécile. 563 Society for the Publication of American Music. 667, 2760 Sonata. 1, 3, 6, 11, 13, 49–50, 65, 72, 84–88, 117, 139, 141–42, 154, 188, 193–94, 200, 202, 204, 206, 212–13, 220, 234, 238–39, 244, 246, 279–341, 346, 367, 369, 380, 392, 399, 401–6, 408–10, 425, 429–31, 439, 443, 446, 455, 463,

476–78, 481, 483, 487–88, 497, 505, 517, 533, 553–55, 567, 573, 575, 578, 596, 614, 624, 627, 632, 653, 669, 681–84, 686, 699, 707, 712, 720, 727, 734–38, 743, 745, 747, 759, 762, 764–68, 773, 783, 786–87, 789, 791, 795, 799, 801–9, 811–14, 819–24, 835, 867, 874–78, 883–84, 912, 918, 920, 933, 957, 958, 962, 1010, 1022–42, 1048–50, 1055, 1067, 1070, 297, 1071, 1087–89, 1093–97, 1100, 1106, 1110–11, 1115, 1118, 1122, 1124, 1125, 1126, 1132, 1141, 1144, 1150, 1152, 1154, 1158, 1166, 1171–80, 11199, 1204, 1219–20, 1230–33, 1235–37, 1239–41, 1243, 1250, 1265, 1268–70, 1273, 1278–80, 1284–85, 1293, 1295–1307, 1309–13, 1320–21, 1327–33, 1336–42, 1344–45, 1348, 1353–54, 1356, 1363, 1368, 1378, 1381, 1385, 1386, 1389, 1391–93, 1397–1400, 1402, 1405, 1416, 1418, 1420, 1422, 1424, 1426–28, 1430–33, 1444, 1447–48, 1455, 1465, 1467–69, 1474, 1483, 1488–90, 1492–93, 1496, 1499, 1503, 1515, 1519, 1525, 1526, 1529, 1547, 1555, 1558, 1566, 1568, 1569, 1572, 1575, 1580, 1583, 1617–22, 1631, 1634–35, 1637, 1643, 1651, 1652, 1655–59, 1661–63, 1667–69, 1683, 1692, 1699, 1703–4, 1707, 1709, 1712, 1713, 1717, 1738, 1740–43, 1757–59, 1761, 1771–74, 1781–82, 1785–86, 1788, 1793–95, 1801, 1803, 1807, 1810–11, 1818, 1831, 1834–36, 1838–40, 1843, 1845, 1858, 1876, 1887, 1893, 1901–10, 1912–13, 1931, 1936, 1943, 1945, 1949–50, 1963–64, 1968, 1970–71, 19771987–89, 2003, 2009, 2011–12, 2015–18, 2022, 2024, 2026, 2029, 2033–34, 2038, 2040, 2050, 2058, 2063, 2066, 2071, 2075, 2082–83, 2087, 2093–94, 2099, 2121, 2124, 2154, 2175, 2196, 2208, 2210, 2212, 2214, 2216, 2218, 2229, 2235, 2242–43, 2247, 2251, 2267, 2270, 2283, 2295, 2297–98, 2301, 2311, 2314, 2320, 2327, 2340, 2346-, 2347, 2351, 2353–54, 2358, 2362–63, 2368, 2372, 2374–75, 2377–79, 2383–84, 2386, 2387, 2393, 2416–18, 2420, 2423, 2425, 2426, 2438–40, 2450, 2453, 2478, 2486, 2533–51, 2564, 2567, 2569, 2571, 2573, 2575, 2580, 2584, 2600, 2703, 2705, 2709, 2720–21, 2735, 2760, 2770–71, 2779, 2799 Sonatina. 87, 340, 669, 1070, 1273, 1295, 1656, 1657, 1692, 1835, 2050, 2301

Indices South Africa. 60, 1701, 1765 Soviet Union. See Union of Soviet Socialist Republics, Russia, etc. Spain. 250, 631–36, 1112, 2771 String Quintet. 1, 2, 78, 204, 262, 444–45, 449, 575, 624, 660, 682, 689, 696, 698, 712, 727, 734, 736, 753, 815, 1062–65, 1109, 1113, 1117–18, 1128, 1144, 1146, 1154, 1156–57, 1188–90, 1194, 1196, 1206, 1225–27, 1242, 1274, 1348, 1350, 1352–53, 1372, 1413, 1447, 1452, 1502–3, 1558, 1595, 1630, 1698, 1720, 1733, 1738, 1801, 1803, 1805, 1809, 1831, 1844, 1846–47, 1851–52, 1861, 1913, 1916–29, 1950, 1957, 1974, 1976, 2012, 2048, 2056, 2219, 2221–22, 2262, 2317, 2361, 2383, 2505, 2563, 2710, 2771 String Trio. 80, 204, 422, 431, 437, 439–42, 624, 687, 712, 782, 1038, 1051–53, 1068, 1071, 1116, 1344, 1353, 1389, 1420, 1448, 1480, 1501, 1583, 1601, 1603, 1614, 1635, 1685, 1692, 1846, 1915, 1942, 2065, 2076, 2101, 2103–4, 2162–74, 2315, 2372, 2388, 2392, 2434, 2438, 2504, 2564, 2594, 2686, 2771 Sturm und Drang. 1525, 1870, 2099 Stylus phantasticus. 1235, 1236 Suite. 1, 87, 194, 217, 238, 239, 270, 281, 286, 296, 306, 310, 349, 422, 431, 463, 466, 480, 514, 518, 520, 573, 681, 707, 742, 879, 1072, 1076–83, 1095, 1102, 1106, 1128, 1291, 1308–11, 1452, 1631, 1659, 1680–82, 1684, 1692, 1711, 1717, 1735, 1737, 1753, 1760, 1835, 1943, 2078, 2178, 2254, 2361, 2384, 2422–23, 2550, 2564 Sweden. 258, 279, 348, 578, 627, 637–42, 1091–92, 1315, 1849, 2064, 2320, 2322 Switzerland. 279, 483, 643–45, 1420, 2677 Sydney. 58 Sydovenska Kammarmusikförening. See Smiths Kammarmusikförening T Tanglewood. 2559 Tenoroon. 369 Texas. 656 Theorbo. 466 Tirana. 473 Trio sonata. 1, 2, 13, 50, 72, 86, 87, 90, 141, 142, 154, 298, 299, 300, 302, 303, 304, 305, 313, 316, 317, 326, 401, 404, 405, 406, 408, 429, 431, 439, 478, 517, 575, 597, 632, 683, 727, 762, 764, 773, 787, 795, 800, 802, 804, 1096, 1122, 1126, 1240, 1243,

739 1270, 1297, 1298, 1313, 1418, 1455, 1637, 1658, 1659, 1702, 1758, 1761, 1772, 1785, 1839, 1970, 1971, 2012, 2015, 2267, 2347, 2378, 2379, 2438, 2439, 2478, 2771, 2799 Trombone. 105, 108–9, 119, 162–67, 185, 310–12, 368, 375, 377, 381, 392, 464, 471, 596, 617, 743, 1066, 1071, 1273, 1373, 1452, 1623, 1654, 1774, 2314, 2614 Trumpet. 105, 108, 119, 160–61, 213, 294, 314, 384–87, 392, 398, 470, 782, 1071, 1273, 1305, 1373, 1395, 1452, 1654–55, 1747, 1973, 2314, 2430, 2431, 2573 Tuba. 119, 167, 375, 382–83 Tudela. 1267 Tuning. 10, 519, 1094, 1691, 2467, 2493, 2553 Twelve Tone. See Row. U Ukraine. 646–48, 2660 Union of Soviet Socialist Republics. 10, 474, 488, 648–55, 2093, 2096, 2271, 2274, 2607, 2610, 2630, 2660 United States of America. 74, 259, 341, 421, 494, 656–71, 2422, 2785 University of Texas. 49 Uzbek. 672 V Variation. 217, 267, 408, 436, 514, 616, 624, 699, 707, 727, 731, 737, 750, 815, 891, 958, 962, 1000, 1025, 1035–36, 1067–68, 1144, 1146, 1158, 1170, 1173, 1197, 1200, 1221, 1241, 1252, 1318, 1327, 1348, 1425, 1515, 1566, 1605, 1688, 1699, 1762, 1772, 1776, 1892, 1905, 1907, 1921, 1973, 2033, 2047, 2049, 2085, 2133, 2142, 2153, 2199, 2208, 2220, 2248, 2345, 2359, 2368, 2375, 2384, 2388–89, 2391, 2417, 2700 Vega Chamber Music Society. 508 Vienna. 234, 241, 243, 250–52, 256–57, 260, 273, 402, 407, 409, 424, 430, 436, 449, 453–54, 477, 479–87, 537–38, 577, 580, 591, 632, 712, 729, 767–68, 785, 903, 914, 970, 1051, 1065, 1088, 1093, 1114, 1159–60, 1192, 1207, 1229, 1242, 1348, 1351, 1362, 1441, 1509, 1525, 1570, 1584, 1660, 1665, 1711, 1721, 1790, 1793, 1850, 1861–62, 1867, 1916, 1919, 1937, 1941, 1985–86, 1997, 2099. 2126, 2129, 2132, 2136, 2195, 2214, 2383, 2426, 2432, 2443, 2446, 2522, 2576, 2585, 2603, 2629, 2653, 2725, 2736

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Viol. 134, 135, 306, 466–69, 511, 516, 518–20, 522–23, 525–27, 552, 596, 1233, 1238, 1308–10, 1449, 1625, 1676, 1679, 1735–37, 2015, 2350, 2566–67 Viola d’amore. 125, 1947 Violone. 286, 2592 Violon obligé. 325. See Obligato Vorau Monastery. 63,

Wind Instrument Chamber Musical Society. 2690 Woodwind quartet. 1311 Woodwind quintet. 96, 102–3, 142, 191, 350–56, 459, 669, 717, 746, 782, 1392, 1421, 1597, 1622, 1825, 1836, 1950, 1957, 2046, 2158, 2323, 2552–54, 2556, 2572–73, 2613, 2696

W Waldhorn. 378, 1204 Watson Music Library. 61 Werther. 1164 Whittal Foundation. 2734

Y Young Audiences. 2785, 2791 Yugoslavia. 673, See also Croatia and Serbia. Z Zink. 106, 394

Persons Index A Abaco, E.F. dall’ 246 Abel, K. F. 66, 246, 531, 622, 762 Adam, A. 2213 Adam, C. 2646–47 Adams, J. 2685 Adaskin, M. 337 Adès, T. 544, 1347 Adorno, T. 835, 1075, 1159, 2302, 2406, 2469 Afanasieff, N. 624, 625 Agolli, L. 473 Aguado, D. 175 Akoka, H. 1826 Alard, D. 565, 2603, 2753 Alba, Dukes of. 2735 Alba, Fernando de Silba Albarez de Toledo, Duke of. 633 Alberti, D. 64 Albertini, I. 476 Albinoni, T. 32, 64, 624, 764–66 Albrecht, E. 626 Albrecht, L. 626 Albrechtsberger, J. G. 246, 436, 443, 767, 1013, 1014 Alfano, F. 768 Aliabev, A. 74, 351, 621, 769, 1394 Allegri, G. 237, 245 Alwyn, W. 455 Amar, L. 2720 Amenda, K. 915 André, J. A. 1859 Angervo, I. 550 Anhalt, I. 337 Antes, J. 188, 770–71 Antheil, G. 32 Apostel, H. E. 217 Arditti, I. 2699 Arensky, A. S. 221, 495, 620, 772 Arne, T. 773 Arnold, M. 377 Aspelmayer, F. 239, 246, 480 Asplmayr, F. See Aspelmayer. Aubert, J. 2533 Auer, L. 626, 639, 2704, 2753 Aumann, F. J. 239 Aumon. See Aumann. Avison, C. 320

B Babadzanian, A. 44 Babbitt, M. 671, 724, 774–82, 2170 Bacewicz, G. 783–84 Bach sons. 12, 425 Bach, C.P.E. 196, 246, 305, 342, 391, 402, 622, 682, 767, 785–90, 1503, 1525, 1901, 1915, 2535, 2612 Bach, J.C. 246, 408, 682, 762, 791–94, 1901–2, 1904 Bach, J.C.F. 795, 1907 Bach, J.S. 12, 42, 46, 188, 206, 213, 305, 321, 334, 401, 406, 408, 425, 592, 691, 730, 754, 795, 796–814, 819, 871, 891, 1014, 1042, 1232, 1406, 1413, 1433, 1636, 1713, 1807, 1818. 1861, 1869, 1899, 1901, 1915, 2033, 2035, 2233, 2251–52, 2346, 2411, 2415, 2480, 680, 2536–38, 2543–44, 2587, 2758 Bach, Jan 375, 377, 386 Bach, W.F. 1915 Bacon, F. 1735 Baermann, C. 2391, 2701 Baermann, H. 815, 1824, 1829, 2391, 2700, 2701 Bailleux, A. 1628 Baillot, P. 561, 565, 1029, 1660, 2702 Bailly, 665 Baird, T. 816 Bakhtin, M. 2127 Balakirev, M. 915 Banchieri, A. 237, 817 Barber, S. 35, 52, 219, 239, 670, 2760 Barbici, M. 66 Baron, E. G. 175 Baron, S. 352 Barrère, G. 343 Barthelemon, F. H. 1448 Bartók, B. 197 212, 217, 220, 222, 232, 269–72, 583, 585, 591, 661, 724, 739, 742, 747–48, 818–81, 1150, 1213, 1220, 1354, 1356, 1700, 1753, 1990, 1994, 2260, 2330, 2445, 2479, 2512, 2518, 2540, 2564, 2588, 2619, 2720, 2749, 2758 Bate, S. 141 Battista, G. 1231

741

742

Chamber Music: A Research and Information Guide

Bauer, H. 566, 2745 Bauer, J. A. 431 Baumann, H. 141 Baur, J. 882 Bax, A. 269, 455, 883–84 Bazzini, A. 600, 2753 Beach, A. 422, 659, 664, 885–87 Beach. Mrs. H.H. See A. Beach. Beck, F. 246, 1534 Becker, D. 304 Beder, J. 393 Beecke, N.I.F. 577 Beethoven, L. van. 10, 13, 32, 49, 75, 85, 88, 92, 133, 188, 190, 194, 206, 210, 212, 215, 217, 223, 230, 236, 261, 262, 271, 277, 320, 324, 332, 342–43, 345, 351, 380–81, 402, 404, 428, 431, 444–46, 482–83, 495, 535, 537, 563, 565–66, 578, 581, 592, 622, 635, 645, 661, 678, 684, 690, 692–93, 696, 699, 712, 714, 716, 719, 729–30, 734, 736, 739, 740, 744, 759–60, 767, 794, 819, 826, 827, 833, 835–36, 846, 867, 871, 888–1066, 1072, 1111, 1127, 1150, 1160, 1170, 1199, 1206, 1213, 1232, 1241, 1277, 1285, 1325, 1350, 1361–62, 1406, 1417, 1424, 1433, 1475, 1503–4, 1507, 1515, 1533, 1550, 1560, 1607, 1665, 1667, 1720, 1751–62, 1797–98, 1807, 1814–15, 1817, 1861, 1866, 1890, 1902, 1912, 1917, 1958, 2037, 2047, 2052, 2078, 2121, 2144, 2185, 2187, 2189, 2200, 2206, 2208, 2224, 2226, 2232–33, 2241, 2247, 2281, 2315, 2320, 2328, 2349, 2380, 2416, 2426, 2446, 2453, 2456, 2465, 2479, 2484, 2493, 2497, 2499–2501, 2518, 2520–24, 2539–42, 2557–58, 2589, 2608, 2611–12, 2630, 2653, 2683, 2703, 2712, 2726–27, 2742–43, 2765, 2770, 2804 Behrends, F. 1439 Belaiev, M. 1127, 1384, 2630 Belli, G. 297, 311 Benda, Franz 1067, 1901, 580, 2543 Benda, Friedrich 213, 257 Bendl, K. 265, 500 Ben-Haim, P. 1068–69 Benincori, A. 250 Bennett, R. R. 377 Bennett, W. S. 1070 Bentzon, J. 1071, 675 Bentzon, N. V. 298 Benzon, S. 351 Berezowsky, N. 2705 Berg, A. 92, 217, 232, 270, 272–74, 298, 583, 724, 742, 1072–84, 1684, 1700, 1753, 2078, 2105, 2418, 2446, 2564, 2653

Berger, A. 1085, 2331 Berger, O. 2630 Bergman, E. 459 Bergmann, C. 1183 Bergsma, W. 670 Bergson, H. 754 Berio, L. 1086, 2556 Berkeley, L. 119 Berlioz, H. 581, 720, 1403, 1471 Bernardi, S. 478 Bernstein, L. 1087 Bertali, A. 476, 478, 1088 Bertoli, G. A. 313, 1089 Bertoni, F.G. 1241 Berwald, F. 180, 183, 628, 685, 1090–92, 2322 Besozzi, C. 1093 Betti, A. 2121, 2515, 2590, 2704 Biber, H. 286, 310, 478, 1094–95, 1235 Biechteler, M.S. 304 Billroth, T. 2740 Binder, C. S. 578, 1096 Birchensha, J. 306, 520 Birkenstock, J. A. 1097 Birtwistle, H. 544, 1098 Bittner, J. 273 Blasius, M.-F. 1099 Blavet, M. 361, 1100 Bliss, A. 1101 Bloch, E. 212, 269, 1102–10, 12857 Boccherini, L. 66, 212, 230, 234–35, 246, 248–51, 257, 436, 440, 444, 558, 563, 600, 632, 634, 689, 722, 1108–20, 1229, 1241, 1534, 1856, 1863–64, 1899, 1901–2, 1907, 1996, 2611, 2771 Bodley, S. 1121 Boehm, T. 2612 Böhm, J. 2187 Böhme, F. 2381 Böhme, O. 1394 Boieldieu, F.-A. 560 Boismortier, J. B. de 361, 391, 1122–24 Boito, A. 2770 Bononcini, G.M. 286, 303, 597, 1125, 1241, 2478 Bonporti, F.A. 303, 1126 Bookspan, M. 2689 Borghi, L. 1448 Borodin, A. P. 269, 445, 827, 1127–31, 2497, 2630, 2740, 2743 Bortnyansky, D.S. 621 Bouffil, J.-J. 97 Boulaire, J. Le 1826 Boulez, P. 137, 569, 858, 1132, 2079, 2564 Boyce, W. 314, 773 Boydell, B. 1133 Boykan, M. 1134 Bozza, E. 175, 377

Indices Brade, W. 302 Brahms, J. 10, 13, 206, 212, 215, 232, 267, 269, 271, 380, 427–28, 432, 445, 483, 537, 581, 585, 626, 687, 714, 716, 721, 729, 736–37, 739, 835, 1135–1205, 1225, 1287, 1339, 1353, 1362, 1369, 1406, 1433, 1439, 1447, 1452, 1475, 471, 1607, 1613, 1617, 1972, 1979, 2033, 2035, 2047, 2085, 2110–12, 2114, 2125, 2221, 2233, 2235–36, 2241–42, 2320, 2418, 2441, 2445, 2453, 2479, 2483, 2486–90, 2570, 694, 2628, 2712, 2715, 2722, 2740, 2743 Brandl, J. E. 1206–7 Bremner, R. 657 Brescianello, G. A. 70, 1208 Bréval, J.-B. 1209 Brewaeys, L. 489 Bridge, F. 92, 269, 541, 1210 Britten, B. 276, 1211–21, 2479, 2510, 2749, 2617 Brod, H. 351 Brodski, A. 626 Brook, B. 67 Brown, E. 48 Brown, J. H. 42 Brown, R. B. 2406 Browne, J. 524 Bruch, Max 456, 1222–23, 1447, 2381 Bruch, Max Felix 1223 Bruci, R. 1224 Bruckner, A. 445, 1066, 1197, 1225–27, 1406 Brün, H. 1228 Brunetti, F. 2771 Brunetti, G. 149, 250, 444, 600, 634, 1117, 1229, 2771 Bruni, A.B. 600, 1241, 1962 Buchner, P. F. 574 Buckinx, B. 489 Bufardeci, L. 475 Bull, O. 175, 610, 1954, 2707 Bülow, H. von 712 Buonamente, G. B. 478, 1231, 2478 Burgmüller, N. 264 Busch, A. 685, 2708 Busch, F. 507, 2708 Busch, H. 2708 Busoni, F. B. 585, 600, 954, 1232, 1844 Butler, C. 1735 Butler, H. 521, 1233 Butterworth, G. 543 Butting, M. 588, 1234 Buxtehude, D. 302, 1235–37 Byrd, W. 1238, 148, 523 C Cabus, P. 489 Cage, J. 1239

743 Caldara, A. 90, 303, 1240 Calderon de la Barca, P. 32 Cambini, G. 74, 235, 246, 248, 250–51, 255, 351, 443–44, 558, 600, 1111, 1114, 1117, 1241–42, 1962 Camerloher, P. C. von 239, 246 Campioni, A. 440 Campioni, C. A. 1243 Campo y Zabaleta, C. del 1335 Campos Parsi, H. 618 Canales, M. 632, 2735 Canat de Chizy, E. 1244 Cannabich, C. 149, 214, 246, 1245 Caporale, A. 293 Capuzzi, G.A. 2771 Carlos Antonio de Borbón. See Carlos IV. Carlos III 634 Carlos IV, 634, 2771 Carlyss, E. 2646, 2647 Carpenter, J. A. 664, 1246 Carr, B. 657 Carter, E. 216, 222, 236, 375, 660, 671, 742, 751, 752, 756, 1247–66, 1966, 2525 Carulli, F. 175 Casals, P. 566, 2745 Casanova, A. 569 Casati, Count Giorgio 2075 Casella, 269, 271, 272, 384 Casken, J. 83 Castel, J. 1267 Castello, D. 87, 284, 311, 1268 Castelnuovo-Tedesco, M. 954, 2758 Cazzati, M. 50, 290, 309, 1269, 2016, 2375, 2477, 2478 Celan, P. 1098 Cervetto, G. 1270 Chadwick, G. 660, 664 Chaminade, C. 1272 Champagne, C. 757 Chausson, E. 269, 400, 412, 413, 414, 736, 1325 Chávez, C. 1273 Chavier Arévalo, A. 618 Cherubini, L. 29, 215, 445, 560, 1274 Chopin, F. 206, 483, 687, 720, 736, 744, 1278–81, 1403, 1409, 1762, 2226 Chung, Yiu-Kwong 1282–85 Cifra, A.595 Cima, G.P. 297, 303, 311, 1773 Cipra, M. 499 Cirri, G. B. 246 Clarke, R. 1285, 2745 Clementi, M. 351, 407, 409, 410 Cobb, W. 519 Cobbett, W. 276 Cocteau, J. 585 Cole, U. 422 Coleman, C. 525

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Chamber Music: A Research and Information Guide

Coleridge-Taylor, S. 1286–87 Colista, L. 2016 Cone, E. T. 1288 Constantinescu, P. 1289 Cooke, A. 119, 1290 Cooley, C. 900 Coolidge, E. S. 191, 2747, 2748, 2749 Cooper, J. See Coperario. Coperario, G. 306, 518, 526 Copland, A. 385, 421, 664, 778, 1087, 1291–94, 2760 Coppens, C. 489 Coprario. See Coperario. Cordero, R. 1295 Corelli, A. 30, 190–91, 194, 244, 286, 289, 292, 297, 298, 300–302, 334, 518, 528, 615, 631, 766, 1125–26, 1235, 1296–1306, 1491, 1519, 1785–86, 1843, 2012, 2362, 2374, 2377–78, 2435, 2482, 2543–44 Corigliano, J. 699, 1307 Corrette, M. 2535 Cortot, A. 566 Coulthard, J. 337, 757 Couperin, F. 1308–10 Couture, J. P. 337 Cowell, H. 380, 660, 666, 1311, 1743, 2258 Cramer, J. B. 410, 431 Cramer, W. 246 Crawford, R. See Seeger, R. C. Creston, P. 1312 Croes, H.-J. de 1313 Crumb, G. 219, 749, 1314, 1689 Crusell, B. H. 1315 Curran, A. 2685 Czerny, C. 431 Czerwenka, F. 393 D D’Albert, E. 763 D’Indy, V. 29, 92, 269, 414, 433, 566, 1325, 1989 Dahl, I. 219, 361, 377, 386, 2758 Dahlhaus, C. 835, 1016, 1158 Dalayrac, N.-M. 255 Dalberg, N. 1316 Dalla Casa, G. 2561 Dancla, C. D. 565 Dankner, S. 458 Danzi, F. 48, 342, 351–52, 431, 1317, 2317 Dauprat, L.-F. 379 Davaux, J.-B. 156 David, F. 334, 1009, 1816, 2235 David, J. N. 1318 Davidowsky, M. 626 Davies, F. 2487 Davies, H. W. 543 Davies, P. M. 1319

Davison, J. 743 Dawson, W. L. 42 de Falla, M. 1396 de la Torre, J. 618 De Smet, R. 489 Dean, B. 475 Debussy, C. 32, 81, 214, 218, 253, 269, 412–14, 495, 566–67, 585, 675, 739, 827, 833, 846, 1272, 1320–34, 1470–72, 1607, 1617, 1703, 2023, 2465, 2479, 2534, 2564 Dediu, D. 1942 Degenart, 2612 Dehmel, R. 2451 Dejonghe, K. 489 Delacroix, F.V. 744 Delano, J. 618 Delius, F. 1336–42 Dello Joio, N. 141, 1087, 1342 Demachi, G. 66 Denisov, E. 2096 Déseclos, A. 569 Deshayes, P. D. 351 Despicˇ , D. 1344 Dett, R. N. 42 Devienne, F. 48, 342, 1317, 1345 Diabelli, A. 175 Diamond, D. 48, 1346 Dieren, B. Van 2355–56 Dietrich, A. 2242 Diller, F. X. 2694 Dillon, F. C. 422 Dillon, J. 544, 1347 Dinescu, V. 1942 Distin, H. 2691 Dittersdorf, K. D. von 342, 449, 481, 580, 1348–51 Dizdari, L. 473 Dobrzynski, I. F. 1352 Dohnányi, E. 269, 1353–56 Dolmetsch, A. 21 Donizetti, G. 371, 600 Doppler, J. 2612 Doran, M. 371, 1087 Doria-Pamphilj Family, 250 Dowland, J. 526 Dragone, A. 449 Dragonetti. See Dragone. Draper, M. 2745 Draper, P. 2745 Dresher, P.l 2685 Druckman, J. 219, 2556 Dubois, T. 349 Dubourg, M. 1303 Dun, T. 1358, 2265 Duport, J. L. 1037 Dussek, J. L. 431, 1762 Dutilleux, H.137

Indices Dvorák, A. 10, 72, 212, 215, 232, 432, 445, 471, 483–84, 495, 500, 739, 1196, 1287, 1359–72, 1844, 2047, 2111, 2114, 2311, 2479, 2628, 2630 E Eben, P. 1373 Eberl, A. 458, 1374 Eckard, J. G. 1902, 2099 Edelmann, J.-F. 1375 Effinger, C. 1376 Eichmann, R. 1223 Eichner, E. 246, 430 Eisenhuth, D. 499 Eisenstein, S. 1262 Eisler, H. 585, 1378 Elgar, E. 32, 434, 1379–85 Elizabeth I, Queen, 511 Ella, J. 2753 Elsner, J. 1386 Elston, A. 1387 Emerson, R. W. 2631 Emidy, J. 706, 1388 Enesco, G. 1389–91, 2709 Espinosa, M. 2771 Esser, M. 250 Esterhazy, Prince Nicolas 1586 Etler, A. 355, 375, 377, 386, 675, 1392–93 Ewald. V. 361, 1394 Ewazen, E. 1395 F Faccio, F. 2770 Faminzin, A. 266 Fanfani, G. M. 1397 Farinelli. 632 Farrenc, L. 458, 1398 Farulli, P. 2710 Farwell, A. 381 Fasch, J. F. 246, 1399–1400 Fauré, G. 253, 269, 412–13, 433, 565, 567, 694, 1424, 1401–10, 1708, 2479, 2534 Felciano, R. 2685 Feldman, M. 435, 753, 1227, 1411–13 Feldmayr, J. 393 Fennimore. J. 1414 Ferares, M. 2711 Fernândez, L. 2370 Fernando VI, 634 Ferrabosco, Alfonso I, 526, 1679 Ferrabosco, Alfonso II, 519, 1415 Fesca, F. 2317 Festing, M. 1416, 1448 Fétis, F.-J. 1481 Feuermann, E. 2712 Fiala, J. 97, 393, 577, 2771 Fibich, Z. 385, 500 Field, J. 1417, 1762

745 Filippi, F. 2770 Fillipo, Duke of Parma, 2076 Fils, J. A. 1418 Filtz, A. 246, 430, 575, 1573 Fine, I. 219, 355 Finney, R. L. 421, 434, 670, 1419, 2760 Fiorillo, F. 255 Fischer, E. 1844 Flury, R. 1420 Foerster, J.B. 500, 1421 Fontana, G. B. 1422 Foote, A. 387, 659, 664 Förster, E. A. 246, 387, 923 Forstmayer, A. E. 430 Fortner, W. 587 Foss, L. 2556 Foulds, J. H. 1423 Frabizio, W. 387 Françaix, J. 218, 412, 460 Franchomme, A. 1279 Franck, C. 253, 333, 412–14, 432–33, 555, 567, 739–40, 1170, 1196, 1272, 1325, 1328, 1403, 1405, 1424–34, 1989, 2453, 2743 Franklin, B. 390, 657, 770, 1499 Franteshek, 500 Franz, K. 1586 Fränzl, F. 260, 923 Franzoni, A. 311 Frederick the Great. See Frederick Wilhelm II. Frederick Wilhelm II of Prussia, 257, 579, 1350, 1899, 1915, 2685 Frescobaldi, G. 284, 596, 1435–38 Froberger, J. 574 Fromm-Michaels, I. 2777 Frühling, C. 458 Fry, W. H. 657, 659 Fuchs, G. F. 574 Fuchs, J. 900, 2687 Fuchs, R. 427, 1201, 1439 Fuentes, A. 618 Fürstenau, A.B. 2612 Fux, J.J. 213, 476, 767, 1013, 1440, 1589 G Gabrieli, A. 595 Gabrieli, G. 237, 292, 302, 596, 599, 680, 1113, 2561 Gabrielli, D. 293 Gade, N. 180, 391, 445, 627, 685, 1470, 1475, 2322, 2743 Gafurius, F. 1000 Gal, H. 273 Galeazzi, 682, 2467 Gallay, J. F. 379 Galuppi, L. 248, 1241 Garland, P. 2685 Garnier, F. J. 97

746

Chamber Music: A Research and Information Guide

Gassmann, F. 97, 149, 243, 246, 252, 443, 463, 481, 1441–43, 1915 Gatti, L. 463 Gaul, H. 2689 Gautier, T. 2213 Gaviniés, P. 157, 323, 1444 Gebauer, F.-R. 351 Gehot, J. 657 Geminiani, F. S. 293, 369, 1306, 1416, 1445, 2535 George, S. 2126, 2131 Gerhard, R.1446 Gernsheim, F. 1447 Gershwin, G. 660 Geysen, F. 489 Giacometti, A. 2424 Giardini, F. 149, 443, 531, 622, 1111, 1241, 1448, 1907 Gibbons, C. 306, 525 Gibbons, O. 519, 1449, 1679 Gibbs, J. 528 Ginastera, A. 394, 435 Giordani, G. 246 Giordani, T. 246, 248, 249, 1241 Giuliani, M. 175 Gladwin, T. 320 Glass, P. 1450 Glazunov. A. K. 29, 119, 445, 620, 1394, 1451–54, 2497, 2630 Glière, R. 29, 111, 269, 653 Glinka, M. 221, 620, 622, 624–25, 915 Glöggl, F. X. 1066 Gluck. C. W. 1242, 1455, 1525 Godard, J. L. 2804 Goethals, L. 489 Goethe, J. 236, 711, 712, 1164, 1844 Goetz, H. 427 Goeyvaerts, K. 489, 1456 Goldman, R. F. 1457 Goldmann, F. 588 Goldmark, K. 29, 427, 445, 1458 Goldmark, R. 664 Goldschmidt, B. 1459–61 Golizin, N. 915 Gomez, V. de 900 Goode, R. 2765 Goosens, E. 541, 2745 Goossens, L. 1212 Górecki, H. M. 458, 1462 Gossec, F.-J. 256, 342, 1463 Gottl. J. 246 Gounod, C. 343 Gouvy, T. 349 Goüy, J. de 552 Grädener, C. G. P. 1192 Graf, C. E. 362 Grainger, P. A. 1464 Granados, E. 1465

Graun, C.H. 317, 1466 Graun, J.G. 246, 304, 305, 317, 1466 Graupner, 146 Gregson, E. 377 Grieg, E. 269, 452, 507, 610, 627–28, 662, 701, 739, 1467–75 Griffes, C. T. 660, 664, 1476–77 Grillparzer, F. 1793 Gruner, N. G. 408 Gualdo, J. 657 Guami, G. 596 Gubaidulina, S. A. 1478–80 Guénin, J.P. 324 Guénin, M.-A. 1481 Guerrini, F. 303 Guillemain, L.-G. 237, 408, 1483–84 Gurlitt, C. 206, 1485 Gurney, I. 543 Gyrowetz, A. 252, 260, 410, 531, 2771 H Hába, A. 269, 273, 1486 Hakola. K. 1487 Hale, P. 1788 Halffter, R. 1273 Hamilton, I. 1488 Hämmerle, T. 485 Hampton, C. 2713 Händel, G.F. 213, 361, 364, 529, 682, 691, 1301, 1445, 1489–94, 1636, 1743, 1899, 2538, 668, 2546, 2570, 2612 Hänsel, P. 2195 Hanslick, E. 690 Haquinius, A. 637 Harapi, T. 473 Harbison, J. 760, 2685 Harris, R. 35, 421, 664, 670, 1495 Harrison, L. 48, 2685 Harry, M. 83 Hartmann, E. 627 Hartmann, K. A. 1496 Harvey, J. 544 Hasse, J. A. 578 Hauer, J. M. 273 Hauptmann, M. 438 Hausmann, R. 2487 Haydn, J. 13, 29, 34, 48, 52, 75, 77, 188, 190–91, 194, 206, 212, 215, 216, 217, 223, 226, 228, 230–32, 234–35, 239–43, 246–48, 250–51, 260–62, 321, 342–43, 345, 393, 402–7, 409–10, 424–25, 428, 436, 449, 452, 481, 495, 531, 535, 558, 563, 565, 580, 622, 635, 645, 682, 684, 691, 692, 699, 712, 714, 722, 726, 729–30, 732, 734, 740, 754, 767, 794, 898, 910, 923, 973, 1055, 1111, 1160, 1166, 1206, 1229, 1241, 1348–51,

Indices 1361, 1417, 1441–42, 1448, 1497–1595, 1607, 1636, 1665, 1706, 1720, 1854, 1856, 1861, 1864, 1866, 1867–77, 1886, 1891, 1899, 1917, 1986, 1996–97, 2121, 2144, 2189, 2195, 2206, 2226, 2357, 2373, 2426, 2453, 2479, 2483, 2493, 2501, 2504, 2515, 2525–29, 2562, 2585, 2587, 2591, 2608, 2611, 2737, 2743, 2771 Haydn, M. 436, 481, 683, 1594–95, 1850, 1856, 2426 Heckmann, R. 1470, 1472 Hegel, G. W. F. 684 Heiden, B. 1312, 1596 Heifetz, J. 2559, 2704, 2712, 2745, 2758 Heine, H. 2213 Heinrich von Herzogenberg, 445 Hellmesberger, Joseph 484, 626, 1193, 2187, 2715, 2753 Helmholtz, 2740 Hensel, Fanny. See Mendelssohn, Fanny. Henze, H.W. 175, 587, 1597, 1844 Herrando, J. 632 Herzogenberg, H. von 427 Hicks, P. G. 141 Higdon, J. 1598 Hill, A. 609 Hiller, J.A. 1466 Hindemith, P. 35, 92, 119, 137, 217, 218, 231, 243, 272, 355, 378, 384–85, 487, 507, 583, 587, 675, 743, 750, 848, 872, 1290, 1312, 1596, 1599–1624, 1831, 1982, 2356, 2479, 2547, 2564, 2618 Hindemith, R. 2714 Hingeston. John, 1625 Hingston, John 306, 525 Hirschbach, H. 2381 Hitler, A. 871 Hoffmann, E. T. A. 720, 1550, 1626–27 Hoffmann, H. A. 574 Hoffmeister, 409, 449, 2771 Hoffstetter, J. U. A. 1499 Hoffstetter, R. 201, 247, 1540, 1628 Holbrooke, A. 269 Holliger, H. 278, 1629 Holloway, R. 83 Holst, I. 1630 Holz, C. 953 Holzbauer, I.J. 430 Homann, C. 659 Homilius, G. A.464 Hommann, C. 657 Honauer, L. 1631, 1902, 2099 Honegger, A. 111, 119, 253, 569, 1632, 2356 Hopkins, A. 119 Horowitz, V. 2758 Hotteterre, J. 360 Hove, L. Van 489

747 Howe, M. 422 Hubay, J. 2743 Huber, K. 674 Hubicki, M. 1633 Huguenin, C. 47 Hüllmandel, N.-J. 324–25, 1634 Hummel, J. N. 232, 431, 1635–36, 2219, 2317 Humperdinck, E. 1447 Humphries, J.S. 1637 Hus, W. 489 Husa, K. 1638 I Ibert, J. 92, 1639 Ibrahimi, F. 473 Ichiyanagi, T. 1640 Imbrie, A. 751, 1259, 1641 Ireland, J. 455 Isaac, H. 13 Ives, C. 203, 338, 660, 1642–54 J Jacchini, G. M. 676, 1655 Jackson, W. 320 Jacob, G. 1656–57 Jacobi, F. 272, 664 Jacquet de La Guerre, Elisabeth 1658–59 Jadin, H. 256, 1660 Jadin, L.E. 255, 342 James I, King 1449 Janácˇ ek, L. 119, 232, 236, 272, 605, 1661–74 Jaques-Dalcroze, É. 1675 Javault, L. 342 Jeffreys, G. 519 Jenkins, E. T. 42 Jenkins, J. 306, 518–21, 525, 1676–83 Jensen, A. 1189 Jeths, W. 1684 Jirák, K. B. 1685 Joachim, A. 2715 Joachim, J. 600, 685, 1686–87, 2233, 2242, 2453, 2487–88, 2504, 2523, 2753, 2601, 2715 Johnston, B.1688–91 Jolivet, A. 569, 1692 Jones, R. W. 743 Jongen, J. 1693, 2501 Joyce, J. 1262 Juon, P. F. 1694 K Kabalevsky, D. 336 Kagel, M. 2077 Kahn, R. 1695 Kalkbrenner, F. 1696 Kallstenius, E. 637 Kammel, A. 66, 213, 246 Kammeyer, H. 141

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Chamber Music: A Research and Information Guide

Kandinsky, W. 2129 Kanitz, E. 454, 1312 Kant, I. 684, 1550 Karlins, M. W. 1697 Käsmeyer, M. 689 Kats-Chernin, E. 475 Kaun, H. 264, 1698 Keil, W. 663 Kerman, J. 1016 Kerr, L. L. 2750 Khandoshkin, I. 1699 Kiels, F. 266 Kimanen, S. 548 Kindermann, J.E. 304 Kirchner, A. 219, 756, 1700 Kirnberger J. P. 767, 1000 Klatzow, P. 1701 Klebe, G. 587 Klee, P. 2424 Kleinknecht, J. F. 1702 Knecht, J. H. 1000 Kneisel, F. 2546, 2687, 2704 Koch, H. C. 754, 1466, 1858, 1893 Kocor, K. A. 630 Kodály, Z. 111, 269, 669, 1354, 1703–7, 2260 Koechlin, C. 253, 361, 566, 569, 1708–9 Koenig, G. M. 278 Koetsier, J. 377 Kolb, B. 760 Kolbe, M. 2741 Kölbel, F. 364 Kolisch, R. 708, 2459, 2531, 653, 685, 2653 Kopelent, M. 1710 Korenstein, E. 2590 Korngold, E. W. 217, 273, 1711, 2758 Korngold, J. 217 Koussevitsky, S. 566, 2337 Kovarovic, K. 500 Kozeluch, L. 252, 260, 401, 407, 409, 410, 458, 923, 1912, 2771 Kraft, A. 219, 1586 Kramarcz. See Krommer, F. Kramer, J. 2061 Kramer, R. 1016 Kraus, J. M. 627, 637, 1466, 1712 Krawc, B. 630 Krebs, J. L. 464, 1713 Krehbiel, H. 1366 Kreisler, F. 2704 Krenek, E. 119, 217, 271, 272, 1714–18, 1745, 2671 Kreutzer, R. 175, 1029, 2501 Krieger, J. P. 388 Kroll, A. 2585 Kroll, W. 685, 2687, 2720 Krommer, F. 260, 500, 1317, 1719–21, 2317

Krosnick, J. 2647 Kroyt, B. 2623, 2624 Kubelik, J. 2741 Küffner, 342, 460, 628, 815 Kuhlau, D. F. 1722–23 Kuhlau, F. 361, 391, 628, 891, 1798 Kunkel, M. 278 Kunze, C. H. 2585 Kupferman, M. 387 Kurtag, G. 1724–27 Kushta. S. 473 Kuula, T. 627 L La Barre, M. 360, 361 Lachenmann, H. 1728–32 Lachner, F. 351, 2381 Lachner, I. 2381 Laderman, E. 219 Lalo, E. 343, 412, 1424, 2605 Landowska, W. 566 Lang, J. G. 408 Lannoy, H. E. J. von 1733 Lassus, O. 218 Laurens, J.-J.-B. 2249 Lawes, W. 306, 518, 520, 674, 1734–37 Lazzari, S. 555 Le Beau, L. A. 1738 Le Corbusier. 1752 Le Duc, S. 324 Lebrun, F. D. 430 Leclair, J.-M. 157, 323, 669, 1444, 1739–43 Leclerc, M. 377 Lefévre, J.-X. 366, 1744 Legrenzi, G. 285, 292, 293, 320, 1236 Lehner, E. 708, 2651 Lehner, J. 2107, 2659 Leibowitz, R. 1745, 2302 Leigh, W. 141 Lekeu, G. 414, 555 Léner, Jenó. See Lehner, J. Lenz, W. von 1016 Leonardo da Vinci, 635 Lerdahl, F. 751 Les Sixes, 269, 343 Lesur, D. 569 Levi, S. 2019 Lewin, D. 754 Liber. 430 Libertini, G.F. 312 Lichnowsky, Prince 938 Lickl, J. G. 351 Lidarti, C. G. 1746 Lidón, J. 1747 Ligeti, G. 694, 724, 1748–55, 2077 Lim, L. 475 Linde, H. M. 175 Lindner, F. 351

Indices Lindner, H. 351 Linke, J. 921, 2187 Liszt, F. 427, 581, 744, 852, 1363 Locatelli, P. A. 64, 301, 1756–59, 2736 Lochrie, D. 458 Locke, M. 518, 1760 Lockwood, N. 2760 Loeffler, C. M. 664 Loeillet family, 1761 Loewenguth, A. 2717 Loft, A. 2718 Louis Ferdinand, Prince of Prussia, 431, 1196, 1762 Louis XIV, 357 Louis XV, 1484 Lübeck, H. 294 Lucier, A. 1689 Luening, O. 421 Luis Borbon 2771 Luis, Prince of Madrid. 634 Lully, J.-B. 21, 157, 322, 470, 1481, 2533 Lupo, T. 519 Lutoslawski, W. 591, 742, 1763–66 Lux, F. 266 Luzzaschi, L. 596 Lysenko, M.2660 Lytton, E. B. 1384 M Mackenzie, A. 539 Maconchy, E. 1767, 2777 Magyar, Gabor 2719 Mahler, G. 585, 871, 903, 1072, 1213, 1439, 1768, 2061, 2126, 2129, 2132, 2444, 2725 Majer, J. F. B. C. 1466 Malawski, A. 1769 Malipiero, Francesco 119, 269, 2501 Malvezzi, C. 595 Mälzel, J. N. 2589 Mamlok, U. 1770 Manalt, F. 632 Manfredi, F. 1111, 1241 Mangold, W. 351 Mann, J. C. 480, 481 Mann, R. 2646, 2649 Marais, M. 304, 2566 Marcellino, R. 475 Marcello, A. 1771 Marcello, B. 1771 Marini, B. 368, 408, 1235, 1772–74, 2477 Marpurg, F. 767, 1014 Marsh, J. 532 Marteau, Henri 2720 Martin, F. 1775–76 Martincek, D. 1777 Martinet, J.-L. 569 Martino, D. 1778–79

749 Martinú, B. 111, 119, 272, 384, 434, 1780–84, 1991 Martucci, G. 600 Marx, A. B. 1873, 1893 Marx, J. 217, 1016 Marx, K. 141 Marzis, P. de 293 Maschera, F. 237 Mascitti, M. 669, 1785–86 Maslanka, D. 1787 Mason, D. G. 660, 1788, 2760 Mason, Mr. 516 Mason, W. 1183 Matiegka, W. T. 175 Mattheson, J. 210, 213, 222, 681, 1466 Matthews, D. 83 Maurer, L. 1394 Maw, N. 83, 1789 May, F. 1790 Mayone, A. 1791 Mayseder, J. 2187, 2195 Mazer, J. 639 McEwen, J. B. 541 McKay, G. F. 743 McPhee, C. 1792 Meale, R. 475 Mechura, L. E. 500 Mederitsch, J. G. A. 1793 Medici, Giovanni Gastone de 1397 Medtner, N. 434, 1794–95 Meignen, L. 657, 659 Mendelssohn, A. 1796 Mendelssohn, Fanny 723, 1797–1800, 1817, 2019 Mendelssohn, Felix 212, 215, 226, 234, 264, 271, 334, 428, 445–46, 566, 628, 687, 714, 717, 720, 729, 739, 971, 1148, 1150, 1362, 1417, 1447, 1470, 1475, 1481, 1801–24, 1912, 2019, 2224, 2226, 2233, 2241, 2243, 2245, 2249, 2380–81, 2479, 2558, 2700, 2715, 2743, 2753, 2770 Mendelssohn, P. 1818 Mengal, M. 351, 1825 Menuhin, Y. 1844 Merikento, A. 459, 2039 Mersenne, M. 552 Merulo, C. 596 Merzoyan, E. 474 Messiaen, O. 45, 569, 1199, 1826–28 Metzger, H.-K. 278 Meyer, L. 1650, 2061 Meyerbeer, G. 1829, 2328, 2702 Miaskovsky, N. Y. 1830 Mica, J. A. F. 463, 500 Michael, D. M. 396 Michelangelo. 635 Mico, R. 519, 526

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Chamber Music: A Research and Information Guide

Milhaud, D. 92, 119, 253, 272, 1708, 1831–37, 1991, 2571 Molique, B. 1838, 2381, 2612 Moller, J. C. 657 Momigay, J.-J. de 2482 Monaco, R. 743 Mondonville, J.-J. C. de 323–25, 408, 425, 1839, 1901 Monn, G. M. 246, 480 Montali, F. 2735 Monteux, P. 2745 Monteverdi, C. 2346 Montsalvatge, B. X. 1840 Moore, G. 2760 Morales Nieva, I. 618 Morawetz, O. 337, 1841 Moscheles, I. 431, 1793, 1842 Moser, A. 2715 Mossi, G. 1843 Mossolow, A. 272 Moyse, L. 175 Mozart son, 1793 Mozart, C. 1941 Mozart, L. 241, 425, 683, 1850, 1902, 1906–7, 2426, 2535, 2543, 2558 Mozart, W.A. 13, 34, 75, 92, 118, 133, 188, 190, 206, 212, 217, 218, 223, 230, 232, 235, 239, 247–49, 257, 260–62, 267, 320–21, 325, 327, 342–43, 345, 351, 380, 399, 401–4, 408–9, 425, 428–29, 431, 436, 444, 449, 452–53, 463, 479, 481, 495, 537, 563, 565–66, 578, 580, 622, 635, 645, 663, 680, 684, 691–92, 696, 699, 712, 714, 722, 726, 729–30, 732, 734, 759, 767, 794, 898, 910, 923, 929, 938, 973, 1055, 1058–59, 1111, 1118, 1160, 1199, 1201, 1206, 1241–42, 1348–51, 1361, 1413, 1441, 1481, 1499, 1503–4, 1507, 1520, 1532, 1534, 1553, 1558, 1595, 1631, 1665, 1793, 1819, 1841, 1844–1942, 1944, 1958, 1986, 1996–97, 2106, 2144, 2184, 2189, 2195, 2226, 2342, 2426, 2453, 2465, 2479, 2482–84, 2499, 2504, 2510, 2515, 2530, 2586, 2562–63, 2570, 2592, 2608, 2611–12, 2634, 2681, 2690, 2728, 2737, 2743, 2753, 2770–71 Muczynski, R. 458 Muffat, G. 286, 478, 1943 Mühlfeld, R. 1202, 2487, 2721–22 Müller, P. 351 Müller, S. W. 112 Musgrave, T. 518 Mussorgsky, M. 754 Myaskovsky, N. 650–51, 653 Myslivecek, J. 66, 213, 440, 1944

N Nardini, P. 1111, 1241 Naudot, J.-C. 1945 Naumann, J. G. 578 Nedbal, O. 2630 Neefe, C. G. 578 Neri, M. 292 Neubauer, F. C. 1946 Neuhof, L. 266 Neuwirth, O. 1947 Nichelmann, C. 305, 1948 Nicholl, H. W. 335 Nielsen, C. 180, 219, 445, 507, 628, 701, 1949–52 Nigy, Serge 569 Nilsson, B. 201 Nisle, J. 393 Nono, L. 1953 Novák, V. 500 Nuñez, G. 618 Nyman, M. 1954 O Odak, K. 499 Oganesian, E. 474 Olah, T.1942 Olbrisch, F. M. 278 Oliver y Astorga, J. 632 Oliveros, P. 1955 Onslow, G. 253, 342–43, 351, 445, 1956–58, 2317 Ordoñez, C. d’ 1959 Ortiz, W. 618 Osterc, S. 673 Ottoboni, Cardinal 2736 Oulibicheff, A. D. 1016 P Pachelbel, J. 574, 1960–61 Paderewski, J. 616 Paganini, N. 173, 175, 258, 446, 482, 600, 1962–63, 2356 Paine, J. K. 1964 Pamphili, Cardinal Benedetto 1297 Pankiewicz, E. 616 Parik, I. 1965 Parker, H. 659 Parry, C. H. 539 Pärt, A. 1966 Pasler, J. 2061 Pasquier, E. 1826 Pauel, H. 264 Pearle, G. 760 Peçi, A. 473 Peixe, C. G. 1482 Pellegrini, F. 1907 Peña Peyes, J. 618 Penderecki, K. 524, 591, 2360

Indices Pennario, L. 2559 Pentland, B. 337, 1967 Pepusch, J. C. 1968 Pergolesi, G. B. 1969–71 Peri, J. 595 Perinello, C. 1972 Perkins, J. M. 1973 Perle, G. 1974–75 Perrera, N. 2785 Persichetti, V. 377 Perti, G. A. 2351 Peter, J. F. 1976 Petrassi, G. 1977 Petri, J. S. 1466 Petric, I. 673 Petzold, C. 213 Peuerl. See Peurl. Peurl. 302, 478 Pezel, J. 388, 1978 Pfitzner, H. 217, 587, 1979–85, 2429, 2714 Piatigorsky, G. 2559 Picasso, P. 85 Picchi, G. 284 Pichl, W. 1986 Pichlberger 449 Pickard, J. 83 Pierné, 391, 555 Pillin, B. 341, 1991 Pinto, G. 537 Pischlberger. See Pichlberger. Pisendel, J. D. 321 Pisk, P. 48, 273, 1992 Piston, W. 219, 251, 421, 670, 1993–94, 2760 Pitoni, G. O. 1297 Pixis, Friedric Wilhelm 2317 Pixis, J. P.2317 Pizzetti, I. 269 Pla, José 632 Pla, Juan 632 Pla, M. 632 Playford, J. 1306 Pleyel, I.J. 246, 251, 255, 260, 342, 402, 409, 410, 431, 436, 443, 444, 531, 580, 722, 923, 1351, 1539, 1578, 1580, 1628, 1995–98, 2771 Poglietti, A. 478 Polzelli, A. 97 Pompey, Á. M. 1999–2001 Ponce, M. M. 2002 Porsile, G. 480 Porter, Q. 670, 2003, 2760 Pössinger, A. 97 Poulenc, F. 92, 137, 1708, 2004–5 Pousseur, H. 2406 Powell, J. 664 Powell, Maud 53 Powell, Mel 660, 2006–7

751 Praeger, F. 2008 Praetorius, M. 292 Pratsch, J. G. 939 Prévost, A. 337 Price, F. 42 Prill, K. 484 Prinz, A. 2009 Prioli, G. 478 Prokofiev, S. 119, 137, 336, 650, 2010–11, 2749 Proust, M. 1414 Pugnani, G. 66, 246, 303, 440, 622, 709, 1243, 1448, 2012, 2799 Purcell, H. 215, 237, 525, 1676, 2013–18 Pÿper, W. 221, 1987–90 Q Quagliati, P. 595 Quantz, J. J. 361, 705, 1466, 1864, 2019, 2535, 2612 Quintón, J. I. 618 R Rachmaninoff, S. V. 336, 620, 2020, 2758 Radicate, F. 250 Rafael, 635 Raff, J. 29, 343, 2743 Raimondi, G. 440 Rainer, R. J. J. 458 Raitio, P. 459 Rameau, J.P. 112, 213, 400–401, 412, 537 Ramos y Buensont, F.618 Ramsöe, W. 1394 Rands, B. 2021 Raupach, H. F. 1902 Rautavaara, E. 361 Rauzzini 248 Raval, S. 595 Ravel, M. 35, 111, 194, 253, 269–70, 391, 412–13, 415, 428, 550, 687, 739, 827, 833, 1320, 1322–23, 1326, 1990, 2022–28, 2497, 2499, 2534, 2548 Ravenscroft, J. 304 Rawsthorne, A. 455, 2029–30 Razumovsky, A. 938, 1890 Reger, M. 13, 188, 267, 269, 271, 428, 581, 585, 587, 688, 1150, 1196, 1199, 1201, 1607, 1617, 2031–42, 2112, 2427–29, 2444, 2720 Reich, S. 1227, 1450 Reicha, A. 342, 343, 351–52, 393, 560, 1398, 2043–46, 2317 Reichardt, J. F. 236 Reiche, G. 388 Reinecke, C. 726, 727, 1485 Reissiger, K. G. 2381, 2558 Reizenstein, F. 119 Respighi, O. 269

752

Chamber Music: A Research and Information Guide

Reti, R. 223, 985, 1846 Reudenbach, M. 278 Reyes, A. 1781 Reynolds, V. 377 Rheinberger, J.G. 349, 427, 445, 2047–48, 2429 Rhodes, S. 2646, 2723 Riccio, G. B. 368 Richter, F. T. 478 Richter, F. X. 246, 408, 430, 575, 1573 Ricordi, T. 2770 Riedt, F. W. 305 Riegger, W. 92, 421, 670, 2049–51 Riehl, W.H. 222, 711 Riemann, H. 1873, 2035, 2036, 2037 Ries, F. 428, 431, 2052, 2317, 2381 Rigel, H.-J. 545 Rihm, W. M. 691, 2053–54 Rimsky-Korsakov, N. 379 Ringwall, R. 900 Riotte, P. J. 2055 Rist, J. 711 Ritter, P. 2056 Rittler, P. J. 312 Roberts, G. 520 Robertson, P. 2724 Rochberg, G. 111, 219, 746, 1991, 2057–63 Rode, P. 1029, 2187, 2317 Rodrigo, J. 548, 636 Roger, E. 1305 Roger-Ducasse, J. 1357 Rogers, B. 520, 560 Roisman, J. 2624 Rolla, A. 2771 Romberg, A.J. 431, 2195, 2317 Romberg, B. 431 Rorem, N. 48 Rosé, Arnold. 217, 484, 685, 710 Rosé. Alma 2725 Rosenberg, H. 2064 Rosenmüller, J. 45, 302, 573, 1235 Rosetti, F. A. 351, 393, 577, 2065, 2771 Rösler, A. See Rosetti, F. A. Rösler, J. 97 Rossi, S. 87, 302, 303, 1231, 1773, 2477, 2478 Rossini, G. 92, 379, 1720, 2066, 2612 Rössler, J. J. See Rösler, J. Rost, F. 50 Rota, N. 458 Roussel, A. 253, 414, 827, 2067 Rovics, H. 341 Roy, K. G. 743 Rózsa, M. 118, 2068 Rubbra, E. 2069 Rubinstein, Anton 29, 343, 445, 483, 624, 625, 738 Rubinstein, Artur 2643, 2712, 2745, 2758 Rubinstein, N. 2345

Rudolph, Archduke 2070 Rust, F. W. 332 Ruth, S. 2790 Rutini, F. 1241 Rutkpowski, A. 616 Rzewski, F. 2685 S Sabatini, F. 2771 Sacchini, A. 246, 248 Sacharskog, F. Z. 500 Sainte-Colombe. J. de 552 Saint-Georges, J. Boulogne, Chevalier de 255, 2071–72 Saint-Saëns, C. 29, 269, 343, 391, 412–13, 415, 433, 565–67, 714, 1403, 1405, 1424, 2073 Salieri, A. 1442 Salomon, J. P. 1448 Salzer, F. 2038 Sammartini, G.B. 246, 248–49, 1856, 1864, 1902, 2074–76 Sampson, D. 375 San Martini, G. 237 Sarasate, P. 600 Sardà, A. 2077 Satoh, S. 2685 Saxton, R. 83 Scarani, G. 284 Scarlatti, A. 244, 245, 1111 Scarlatti, D. 632 Scelsi, G. 2078 Schachner, I. 2741 Schafer, R. M. 2079–81 Schaffrath, C. 246, 431 Scheibe, J.A. 222, 246, 305, 681, 785, 807, 1466 Schein, J. H. 302 Schenker, H. 217, 853, 946, 992, 1027, 1073, 1106, 1152, 1154–55, 1164–65, 1174, 1189, 1301, 1333, 1376, 1553, 1561, 1563, 1846, 1936, 2038, 2130, 2203, 2252, 2282, 2307, 2448 Schetky, J.C. 657 Schickhardt, J. C. 2082 Schikaneder, E. 1793 Schirmer, G. 51 Schlegel, L. 266 Schlesinger, A. M. 1017 Schmelzer, J.H. 50, 304, 312, 476, 478, 1088, 1235, 2083 Schmid, K. 2084 Schmidt, F. 217, 2085 Schmitt, J. 253, 362 Schmitt, N. 351 Schnabel, A. 507, 2086, 2673, 2745 Schneider, A. 2624 Schneider, M. 2624 Schnittke, A. 426, 435, 691, 1942, 2087–97

Indices Schobert, J. 246, 320, 324, 404–6, 408, 426, 429, 431, 575, 1573, 1902, 1904, 2098–99 Schoeck, O. 543, 2100–101 Schoenberg, A. 119, 216–17, 243, 267, 269, 271–74, 298, 583, 585, 671, 716, 724, 737, 739, 745–46, 754, 827, 835, 846, 852, 872, 1072, 1081, 1107, 1152, 1158, 1176, 1187, 1362, 1446, 1613, 1646, 1665, 1700, 1745, 1753, 1833, 1841, 1846, 1892, 1954, 1979, 1992, 1994, 2085, 2100, 2102–78, 2303, 2330, 2415, 2418, 2429, 2441, 2443, 2445, 2450, 2515, 2531, 2555, 678, 2582, 2634, 2652–53, 2749, 2758 Schönbaum, C. 2440 Schop, J. 2179 Schreiber, A. 2727 Schreker, F. 273, 2444, 2652 Schröter, J. S. 408 Schubart, C.F.O. 785 Schubert, F. 13, 133, 206, 212, 215, 226, 230, 232, 342, 400, 414, 445, 449, 714, 717, 736, 738, 739, 759, 898, 943, 1047, 1147, 1196, 1199, 1213, 1362, 1371, 1377, 1409, 1424, 1433, 1475, 1503, 1551, 1607, 1984, 2037, 2132, 2180–2222, 2224, 2342, 2479, 2493, 2549, 2612, 2630, 2712 Schubert, F. A. 2585 Schulhoff, E. 272, 2223 Schuller, G. 133, 219, 361, 375, 377, 386, 756 Schultze, G.Ch. 1494 Schuman, W. 670, 2646 Schumann, C. W. 645, 1164, 1417, 2224, 2233, 2242, 2250, 2487, 2715, 2753 Schumann, R. 13, 29, 206, 212, 215, 263, 334, 428, 432, 456, 483, 714, 720, 739, 744, 979, 1066, 1150, 1164, 1166, 1196, 1371, 1406, 1409, 1424, 1433, 1447, 1475, 1809, 1812, 1819, 1912, 1972, 2225–26, 2228–52, 2380–81, 2453, 2479, 2497, 2715 Schuppanzigh, I. 921, 945, 977, 2726 Schurig, W. 2252 Schuster, J. 578, 1860, 1904, 1907 Schwartz, F. 618 Schwindel, F. 440 Scott, R. 269 Sculthorpe, P. 475, 2253 Seeger, R.C. 666, 671, 742, 2254–59, 2479 Segantini, G. 2397 Seiber, M. 141, 2260 Senallié, J.-B. 2261 Serkin, R. 273, 2708 Servais, J. 2743 Sessions, R. 222, 664, 670, 756, 2262–64 Sevcˇ ik, O. 484, 2652

753 Seydelmann, F. 578 Seydl, J. A. 62 Sgambati, G. 266, 600 Shapey, R. 760 Shaw, G. B. 1844 Shaw, R. 657 Shebalin, V. 650, 653 Sheng, B. 2265–66 Sherard, J. 2267 Shifrin, S. 751, 1387, 2268 Shostakovich, D. D. 228, 271, 336, 571, 650–51, 653, 1213, 2093, 2096, 2269–99, 2479, 2532 Sibelius, J. 219, 2300–305 Siegmeister, E. 219 Sierra, R. 618 Silverman, F.-E. 2306 Simaku, T. 473 Simon, A. 1394 Simpson, C. 306, 520, 525, 603 Sims, E. 2307 Sina, E. 473 Sivori, F. 478, 2753 Skerjanc, L. M. 673 Slatin, A. 2767 Slatin, I. 2767 Slatin, V. 2767 Slavenski, J. 499 Slosberg, H. S. 2759 Smetana, B. 72, 212, 215, 232, 273, 374, 500, 736, 827, 1665, 2308–12, 2479, 2515, 2630 Smirnoff, J. 2647 Smyth, E. 269, 2313 Soler, A. 632 Somers, H. 337, 757 Sophie Charlotte, 223 Sor, F. 175 Speer, D. 292, 671, 2314 Spiering, T. 53 Spinoza, B. 1796 Spohr, L. 29, 215, 235, 343, 438, 445, 1029, 1199, 1720, 1838, 2315–19, 2381, 2388 Stabinger, Mattia 440 Stadler, A. 1939, 2728 Stadler, J. 1939, 2728 Stadler, M. 1920 Stadlmayr, J. 304 Stamitz, C.P. 430 Stamitz, Carl 443, 578, 607, 1317 Stamitz, J.W.A. 430 Stamitz, Joh. 246, 364, 531 Stanford, C. V. 539 Starzer, J. 246, 481 Stein, E. 274 Stenhammar, W. 180, 183, 2320–24 Sterkel, J. F. X. 407, 409, 430, 574 Steuermann, E. 273

754

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Stevens, H. 743 Stock, D. 2689 Stockhausen, K. 30, 587, 2077 Stomic, J.V. 213 Stookey, N. 2325 Störl, J. G.C. 388 Stradella, A. 2326 Stratico, M. 2327 Strauss, L.A. 2785 Strauss, R. 92, 119, 269, 427, 585, 587, 874, 1072, 1617, 2328–29, 2444 Stravinsky, I. 10, 35, 92, 119, 133, 271–72, 338, 384–85, 585, 749, 820, 852, 1213, 1700, 1966, 2330–37, 2360, 2634 2758 Strindberg, J. A. 2129 Stroes, A. 1942 Suk, J. 685, 2628, 2630 Sulzer, J.G. 785 Sveinbjörnsson, S. 627 Svendsen, A. 507 Sweelinck, J. P. 1987 Sweeney, E. 2338 Swerts, P. 489 Swieten, Baron von 1915 Syaka, I. 500 Sydeman, W. 387 Szarzynski, S.S. 614 Szigeti, J. 2745, 2758 Szymanowski, K. 2339 Szymanski, P. 858 T Taffanel, P. 343, 352 Tallmadge, J. I. 106 Taneiev, S. 269, 271, 620, 2630 Tansman, A. 569 Tartini, G. 194, 246, 250, 334, 578, 1241, 2340, 2374, 2535, 2543 Tautz, L. 430 Taylor, R. 657, 659 Tchaikovsky, P. I. 495, 620, 626, 2341–45, 2479, 2497, 2515, 2630 Telemann, G. P. 190, 246, 329, 431, 2346–47, 2550–51, 2584 Tenney, J. 2348 Tertis, L. 447 Teyber, 2771 Teyber, A. 578 Thalberg, S. 482 Thibaud, J. 2745 Thomas, T. 1183 Thompson, R. 670 Thomsen, M. 294 Thomson, V. 2760 Thuille, L. 92 Tippett, M. 271, 2349 Titz, F. 621

Toch, E. 111, 2758 Toeschi, C.G. 430 Toeschi, K.J. 214, 246, 575 Tole, V. 473 Tolstoy, L. 1667, 2628, 2630 Tomaschek, W. J. 431 Tomasini, L. 250, 269, 442 Tomkins, T. 519, 2350 Torelli, G. 309, 1297, 2351 Torres, R. 618 Tower, J. 760 Trajetta, P. 657 Trampler, W. 685 Tree, M. 2730 Trenchs, R. M. 618 Trost, J.C.M. 369 Tull, F. 460 Turina, J. 2352 Turini, F. 303 Turk, H. P. 1000, 1942 Turner, R. 337 Turrini, F. G. 2353 Türrschmidt, J. 393 Tuthill, 618, 1312 Twiselton, Mr. 1305 U Uccellini, M. 1231, 2354, 2477 Uchida, M. 2765 Uhl, A. 456 Ukmar, V. 673 Urhan, C. 565 Usper, F. 368 Ustvolskaya. G. 2096 V Vachon, P. 255, 256 Valentini, Giovanni 64, 478 Valentini, Giuseppe 1297 Vallerand, J. 337 Vanhal, J. K. 66, 149, 243, 246, 252, 408, 409, 436, 531, 622, 2357–58 Vanhal, J. B. See J. K. Vanhal. Vanhs, A. See Vanhal. Varèse, E. 2359–60 Vaughan Williams, R. 543, 2361 Vázquez, C. 618 Végh, S. 685, 2729 Vejvanovsky, P. J. 312 Veracini, F. M. 1902, 2362–63 Verdi, G. 172, 266, 601, 1113, 2364–66 Viadana, L. 311 Viardot, P. 2753 Vierne, L. 434, 555 Vieuxtemps, H. 334, 2743, 2753 Villa-Lobos, H. 111, 2367–71 Vincentino, N. 674 Vine, C. 475

Indices Viotti, G.B. 21, 157, 173, 255, 258, 322, 537, 600, 1111, 1481, 1962, 2187, 2372–73, 2585–86, 2771 Visconti, G. 2374 Vitali, G.B. 309, 597, 2016, 2375, 2478 Vitali, T. A. 2376 Vivaldi, A. 42, 599, 766, 1239, 1901, 2377–79 Vlad, R. 1942 Vodicka, V. 213 Vogel, G. J. 431 Vogel, J.C. 625, 1317 Vogler, G. J. 430, 1000 Volkmann, R. 427, 2380–82 von Einem, G. 1377 Vorobëv, I. I. 621 W Wagenaar, B. 2760 Wagenseil, G. C. 97, 246, 304, 405–6, 1581, 2383 Wagner, C. 2628 Wagner, R. 333, 427, 555, 581, 585, 626, 690, 693, 815, 905, 974, 1072, 1079, 1171, 1325, 1362–63, 1433, 1753, 2035, 2400 Walther, J. J. 1466, 2384 Walton, W. 46, 272, 384, 2385–87 Wanhal. See Vanhal. Ward, J. 519 Ward-Steinman, D. 627, 1991 Warlock, P. 543 Warner, H. W. 541 Wassermann, H. J. 2388 Watson, W. 743 Weber, C. M. von 215, 235, 270, 428, 815, 1199, 1424, 1720, 1762, 2389–91, 2406, 2612, 2700–701 Webern, A. 217, 232, 243, 271, 273–74, 298, 338, 434, 583, 744, 749, 1081, 1745, 2105, 2173, 2330, 2392–2419, 2493, 2500, 2653, 2749 Weckmann, M. 302, 573 Weidemann, K. 2612 Weigl, J. 149, 1586 Weigl, K. 273 Weill, K. 2420 Weingartner, F. 29, 273 Weinstock, R. 2731 Weinzweig, J. 337, 757 Weiss, F. 1942 Weiss, S. L. 175, 921 Weisse, C. H. 685 Wellesz, E. 217, 269, 273, 2421 Wen-Chung, C. 48, 2422 Wendling, J. B. 246, 575 Wendling, J.P. 2612 Werfel, F. 1080 Werfel, H. 1080 Wesström, A. 637

755 Westerlinck, W. 489 White, C. C. 42 Whittenberg, C. 375 Widmann, J. 278 Wielhorsky, Count Matthieu 1818 Wieniawski, H. 2518, 2753 Wihan, H. 2630 Wilder, A. 355, 2423 Wilhelmj, A. 2603 Wilkinson, T. 516 Willaert, A. 595 Wilson, I. 2424 Winkler. 484 Winneberger, P. 393 Winter, P. 2525 Withy, J. 2350 Wolf, H. 12, 495, 2427–28, 2444 Wolf-Ferrari, E. 2429 Wölfl, J. 2426 Wolpe, S. 2430–31 Wood, H. 83 Work, F. J. 42 Wranizky, A. 246, 252, 260, 431, 436, 2771 Wranizky, P. 252, 2432 Wray, E. 519 Wuorinen, C. 2433–34 X Xenakis, Y. 742, 775, 2077, 2435 Ximenez, A. 632 Ximenez, N. 632 Y Yi, C. 2265 Yost, M. 366 Young, D. 475 Young, W. 478 Ysaÿe, E. 600, 2743, 2745 Yun, I. 2436 Z Zach, J. 246 Zadeja, Ç. 473 Zaimont, J. L. 2437 Zajc, I. 499 Zamponi, 521 Zannetti, F. 440, 1241, 2438 Zarlino, G. 1000 Zeckwer, C. 664 Zelenká, J. D. 2439–40 Zelenski, W. 616 Zelter, C.F. 1805 Zemlinsky, A. 217, 232, 271–73, 1072, 1078–79, 1362, 1439, 2111–12, 2114, 2441–51 Ziani, P. A. 478 Zimmermann, A. 2452 Zink, O.K. 408 Zwilich, E. T. 643, 2777

Authors Index The following is an index of authors cited in the book. Authors cited in the course of an entry are indicated by entry numbers in regular numerals. Authors cited between entries are indicated by page numbers in italics. A Abbiati, Franco 405 Abbinanti, Frank 1728 Abdel-Aziz, Mahmud 2298 Aber, A. 2427 Abert, Anna Amalie 2221 Abert, Hermann 1859 Abraham, Gerald 221, 932, 1127, 1453 Abravanel, Claude 362 Ackere, Jules 194 Adams, Sarah Jane 453 Addessi, Anna Rita 1724 Addington, Christopher 811 Adelson, Robert 978 Adeney, Marcus 493 Adlington, Robert 1098 Adorno, Theodor 716, 1603 Agawu, Victor Kofi 984, 1002 Agmon, Eytan 947, 1040 Ahn, Suhnne 1026 Aigner, Theodor 1793 Alain, Olivier 676 Alberman, David 1729 Albrecht, Theodore 988 Alburger, Mark 1450 Alexander, Peter 455 Allen, Judith Shatin 1330 Allihn, Ingeborg 31, 32, 717 Allis, Michael 1384 Allorto, Riccardo 289 Allroggen, Gerhard 437 Allsop, Peter 290, 298, 1231, 1296 Altmann, Gustav 2542 Altmann, Wilhelm 28, 29, 78, 80, 112, 117, 118, 125, 266 624, 738, 1054, 1458 Amsterdam, Ellen Iris 1117 Anderson, Donna K. 1477, 401 Anderson, Marcia Hilden 459 Anderson, Mark J. 373 Anderson, Martin 629 Anderson, Nicholas 1297 Anderson, Stephen Charles 312 Andrade, Silvano Rodrigues de 490

756

Andreis, Josip 499 Andrews, Ralph Edwin, Jr. 1825 Angerer, Manfred 217, 232 Angermüller, Rudolph 491 Annibaldi, Claudio 526 Annicchiarico, Michael Joseph 2139 Anson-Cartwright, Mark 1553 Antcliffe, Herbert 541, 700, 1142 Anthony, Carl Rheinhardt 1700 Antokoletz, Elliott Maxim 823, 857, 865 Apel,Willi 307 Apfel, Ernst 295 Appel, Bernahrd R. 2235 Appia, Edmond 1741 Aquilina, Florence 1598 Archibald, Bruce 2399 Arling, Harry J. 162 Arnold, Denis 209 Arnold, Stephen 779 Aschauer, Michael Jordan 427 Aschböck, E. 2083. Ashbee, Andrew 519, 524, 1677, 1679, 1680, 1681, 1683 Ashbrook,William 371 Ashby, Arved 1081 Asow, Erich H. Mueller von 610 Assmann, Klaus 1454 Astel, A. 2698 Atwell, Bruce W. 379 Audéon, Hervé 400 Auerbakh, Lev Davydovich 2345 Augé de Lassur, Lucien 566 Aulich, Bruno 2466, 2505 Avins, Styra 1192 B B. Jurgenson, 613 Babbitt, Milton 829 Babcock, D. 1777 Babitz, Sol 2544 Bach, Hans Elmar 264 Bachmann, Alberto 2603, 2604 Bachtík, Josef 1421 Bacon, Analee Camp 448

Indices Bacon-Shone, Frederic 1338 Bader, Yvette 1642 Badura-Skoda, Eva 1351, 2215 Bagdanskis, Jonas 2661 Bagge, Selmar 419 Bahr, Edward Richard 185 Bailey, Walter B. 2128 Baker, James M. 1563 Baker, Theodore 4, 5 Bakicova, Veronika 2669 Baldassarre, Antonio 265, 1182, 1552, 2302 Baldwin, Lillian 47 Balek, Jindrich 504 Ball, Arthur L. 2458 Ball, Martin 475 Ballola, Giovanni Carli 1276 Banat, Gabriel 2071 Banfield, Stephen 539 Bär, Carl 2592 Barela, Margaret Mary 2761 Bargheer, Carl Louis 953 Barkin, Elaine 1085 Barlow, Harold 27 Barnes, James 2484 Barnes, Marysue 1240 Barnett, Gregory 291 Barnett, Michael 2300 Baron, Carol K. 1132 Baron, John Herschel 187 Baron, Samuel 2537, 2552, 2613 Baroni, Mario 1297 Barr, Jean M. 2794 Barrett, Constance Elizabeth 1476 Barrett, Gregory 2305 Barrett-Ayres, Reginald 1507 Barrón Corvera, Jorge 2002 Barrows, John 2553 Barry, Barbara R. 944, 992, 997 Barry, Malcolm 2271 Barshell, Margaret Louise 1402 Bartel, Kerstin 1486 Bartels, Katrin 445 Bartleman, Donald L. 1422 Bartlett, Loren Wayne 88 Baselt, Bernd 213, 404 Bashford, Christina 1, 535, 536, 976, 2753 Basso, Alberto 3 Batchelder, Alice 2754 Bates, Carol Henry 1658 Baudet-Maget, A. 122 Bauer, Carla Christine 1100 Baum, Richard 2426 Bayes, Jack Russell 2561 Bayley, Amanda 275, 862 Beach, David Williams 2209 Beach, Marcia Francesca 864 Beaumont, Anthony 1232, 2443 Beaussant, Philippe 1309

757 Becker, Alexander 2037 Becker, Hartmut 607 Becker, Heinz 1149 Becker, Warren 192 Becker-Glauch, Irmgard 1577 Beckerman, Michael 215 Beckmann, Gisela 323 Beckmann, Gustav 1961 Bedford, Frances 172 Bedford, William Charles 2747 Beechey, Gwilym 1340 Beer, Axel 717, 2388 Beeson, Colin 919 Bek, Josef 1672 Belgray, Alice Bunzl 1230 Bell, A. Craig 1568 Bellingham, Bruce 519 Bellison, Simeon 2391 Bellman, Jonathan David 1557 Benade, Arthur H. 27 Benary, Peter 872 Benedict, Stephen 2772 Benestad, Finn 1468, 1469, 1898 Bennett, J.R. Sterndale 1070 Bennwitz, Hanspeter 586 Benser, Caroline Coker Cepin 2421 Benson, Mark 2117 Benton, Rita 1580, 1634, 530 Berezowsky, Alice 2705 Berg, Michael 1667 Berger, Christian 1095, 1550 Berger, Melvin. 84, 219 Berger, Wilhelm Georg 619, 620, 1289 Bergmann, Anneliese 1808 Bergmann, Walter 1455 Berkley, Harold 2530, 2546 Berko, Mikhail 2655 Berlinskii, Valentin 2706 Bernard, Jonathan Walter 1251 Berners, John Edgar 1650 Bernstein, David Stephen 1827 Bernstein, David W. 1176 Beroukhim, Cyrus 1610 Berrett, Joshua 2318 Berry, Jan Noelle 1697 Berry, Mark 2061, 2062 Berry, Wallace 851 Bersch, Kirsten 1669 Best, Terence 1489, 1490 Betti, Adolfo 698, 2515 Beveridge, David 1365, 1371 Biales, Albert 478 Biamonti, Giovanni 909 Biba, Otto 1144 Biggam, Vincent Mark 1221 Binder, Daniel Ambrose 1346 Binkley, Thomas 308 Birtel, Wolfgang 1768

758 Bischof, Rainer 217 Bishop, David Martin 934 Black, Brian Charles 2196 Blagoj, Dmitrij 655 Blankenship, Shirley Meyer 1083 Block, Steven D. 2689 Blok, V. 2011 Blom, Eric 1101 Blomster, Wes 2762 Blum, David 2639, 2640 Blume, Friedrich 2, 806, 1515 Blume, Ruth Christiane 403 Bobetsky, Victor V. 1307 Bobrovskii, Viktor Petrovich 2270 Bock, Emil William 1625 Bockholdt, Rudolf 1036, 1916 Boehmer, Konrad 278 Boelza, Igor 653 Boestfleisch, Rainer 1144, 2119 Boetticher, Wolfgang 2244 Bohlman, Philip V. 592, 593 Böhme, Jürgen 1796 Böhmer, Karl 717 Boivin, Jean 2079 Bolen, Charles Warren 388 Bonaccorsi, Alfredo 1113 Bonavia, Ferruccio 695 Bonds, Mark Evan 1547, 1875 Boneau, Denise 1408 Bonta, Stephen 285 Boone, Dalvin Lee 384 Booth, Roscoe Martin 2782 Borchard, Beatrix 2715 Borciani, Paolo 2493 Borders, Barbara 774 Borovik, M. 2660 Borovik, Nokolai 647 Borrel, Eugène 280 Borroff, Edith 1839 Bossa, Renato 1297 Bostian, Carey Hoyt 2674 Botstein, Leon 1135 Boublik, Jan 503 Boucourechliev, Andre 910 Boughton, Rebecca Anne 2394 Boughton, Rutland 693 Bouquet, Fritz 1077 Bouscant, Liouba 2274 Bowen, Glenn Hamel 2423 Bowker, Barbara Ellen 1517 Boyden, David D. 1303 Boykan, Martin 1641, 2172 Bozarth, George S. 1183, 2487 Bracht, Hans-Joachim 683 Bradshaw, Susan 2582 Brainard, Paul 2340 Brainin, Norbert 2516 Brand, Friedrich 1150

Chamber Music: A Research and Information Guide Brandenburg, Sieghard 261, 891, 927, 1000, 1026, 1036 Brandt, Nat 2623 Brantley, Daniel Lawrence 1540 Braun, Jürgen 2023 Brauner, Jürgen 1567 Braus, Ira 1171 Brawand, John Edward 1295 Brawley, Thomas Michael 2380 Bray, Trevor Ian 1210 Breitfeld, Claudia 1404 Brennecke, Dietrich 1234 Brent-Smith, Alexander 2200 Breslauer, Peter Seth 1155, 1169 Bretaudeau, Isabelle 400 Breuer, János 848, 1704 Brewer, Linda Rae Judd 1707 Brickman, Scott Thomas 1799 Bridges, David Merrell 598 Bridle, Augustus 495 Brill, Hans Gerd 2714 Brindle, Reginald Smith 1078 Brinkmann, Reinhold 891 Brinzing, Armin 572 Brockhoff, Maria-Elisabeth 302 Brodin, Gereon 638 Broe, Carolyn Waters 2750 Broman, Sten 641 Brook, Barry S. 225, 1583 Brown, Alfred Peter 521, 1959, 1566 Brown, Clive 215, 2315, 2488 Brown, David 1215, 2342, 2343 Brown, James 2513 Brown, Janis Ann 1374 Brown, Jeanell Elizabeth Wise 885 Brown, Julie 852, 2247 Bruce, I.M. 1878 Bruch, Axel 1475 Brüchle, Bernhard 157 Brügge, Joachim 960, 1922, 2053 Brün, Herbert 1228 Brunn, Kai Aage 195 Brusatti, Otto 912 Bryden, Kristy Ann 760 Bubnas, Juraj 1965 Buccheri, Elizabeth Bankhead 2050 Bücken, Ernst 2035 Budde, Elmar 1144 Budden, Julian 2364 Budwig, Andrew 1396 Bughici, Dumitru 281 Bujic, Bojan 724 Bumpas, L. Kathryn 1021, 1022 Bunge, Sas 606 Burden, Michael 2017 Burden, Ross Patrick 1123 Burke, Richard N. 2293 Burkholder, James Peter 2122

Indices Burnham, Scott G. 2206 Burstein, L. Poundie 1063, 2204 Burton-Page, Piers. 2616 Busch, Adolph 2456, 2708 Busch-Salmen, Gabriele 204, 2383 Bush, Geoffrey 537 Butterworth, Neil 1292 Butz, R. 2177 Buyse, Leone Karena 1124 Bylander, Cindy 524 C Cable, Susan Lee 1783 Cadenbach, Rainer 1017, 1239, 1614, 1798, 1817 Cadrin, Paul 2339 Cadzow, Dorothy 667 Caesar, Clifford 610 Caffarelli, Francisco di 446 Cahn, Peter 1036 Cai, Camilla 2707 Caldwell, John 1, 529 Calmeyer, John Hendrik 1758 Calvocoressi, M.D. 1709 Campanha, Odette Ferreira 11 Campbell, Karen 2763 Campbell, Margaret 2517 Cansler, Philip Trent 161 Cantarini, Aldo 1972 Cantrick, Susan Birdsall 1648 Caplin William E., 911 Carey, Christian Brian 1263 Carlson, Paul Bollinger 338 Carpenter, Patricia 1187 Carr, Catherine 1287 Carroll, Paul 346 Carr-Richardson, Amy 959 Carson, Sean Hazard 1259 Carter, Nathan M. 1286 Case, Barbara Betty Bacik 1368 Castro y Serrano, José de 635 Castro, David Ralph 2283 Caterina, Roberto 1724 Caughill, Donald I. 605 Cavett-Dunsby, E. 1874 Ceillier, Laurent 1357 Celentano, John P. 2455. 2463, 2524 Cervinková, Blanka 1359, 1780 Cesari, Gaetano 406, 2075 Cessac, Catherine 1659 Chafetz, Lester 2507 Chailley, Jacques 1890 Chang, Peter 1358, 2422 Chang, Yu-Hui 1082 Chapin, Gary Parker 2686 Chapman, Roger E. 82, 866 Charles Soler, Agustín 2077 Charteris, Richard 520

759 Chase, Gilbert 1396 Chausse, Elizabeth Suzanne 1674 Chazanoff, Daniel 523 Chen, Chih-Chi 433 Chepin, G. 772 Cherbuliez, Antoine-Elisée 704, 1452, 1868, 1891 Cherlin, Michael 2104, 2158, 2164, 2437 Cherniavsky, Felix 2682 Cherry, Norman 1305 Cherry, Paul Wyman 1832 Cherubini, Ralph 1906 Chester, J. 56 Chester, W. 56 Childers, Christopher Micah 2489 Chimènes, Myriam 2739 Chisholm, S. 1714 Chissell, Joan 1102, 2228 Chittum, Donald 1823 Christensen, James 52 Chua, Daniel K.L. 972 Churgin, Bathia 987, 1007, 2076 Chusid, Martin 2186 Ciortea, Tudor 907 Cipolla, WilmaReid 387 Citron, Marcia J. 1271 Cizmic, Maria 2294 Clarke, Eric F. 1005 Clarke, Rebecca 913, 2562 Clarke,Mary Gray 2363 Clauser, Charles Theodore 1463 Claydon, Humphrey 1969 Claypool, Richard D. 814 Cleary, Nelson Theodore 1923 Cleland, Kent D. 754 Clercx, Suzanne 1313 Clinton, Ronald Dale 49 Coates, William 467, 517 Cobbett,WalterWillson 10 Code, David Jonathan 1325 Coeuroy, André 12 Cohen, Albert 468, 552 Cohn, Arthur 33 Cohn, Richard Lawrence 1434 Cole, Malcolm S. 1397 Coleman, Jack 385 Colles, Henry Cope 1138, 1382, 1383 Collins, Thomas William 1992 Combs, Cortney Dawn 2226 Compeers, Joris 489 Conant, Robert 172 Condé, Gérad 253 Cone, Edward T. 2264 Conrad, Ferdinand 2584 Conter, Fulvia 2353 Cooke, Deryck 963 Coolidge, Richard A. 2193 Coonrod, Michael McGill 742

760

Chamber Music: A Research and Information Guide

Cooper, Jeffrey 563 Cooper, Martin 2029 Corbett, R. D. 752 Corbin, David R., Jr. 167 Correll. See Roesner Corson, Langdon 746 Cortner, Larry Lee 464 Cory, Eleanor 1134 Cosme [Come?], Luiz 46 Cosse, P. 1412 Costa, Anthony J. 150 Cox, David 212 Cox, Frank 2525 Cox, Gareth 1121, 1133 Craft, Robert 2337, 2555 Crago, Bartholomew 175 Craig, Steven Douglas 1443 Crane, Patricia Ann 2508 Crask, Kathryn Potter 2509 Crawford, Dorothy Lamb 2758 Crissey, Harrington E., Jr. 144 Crocker, Eunice Chandler 283 Crone, Tan 2791 Crossen-Richardson, Phyllis Jane 458 Csáky, Moritz 1144 Csepregi, Gabor 2719 Csuka, Béla 1586 Cubbage, John Rex 2155 Cudworth, C.L. 1971 Curtis, Liane 1284, 1285 Cusick, Suzanne Gertrude 1800 Cutts, Paul 465 Cuyler, Louise E. 1530, 1869 Czesla, Werner 1154 D D’Ambrosio, Cybèle 2090 D’Aranyi, Jelly 1028 D’Hoe, Jeroen 1456 D’Indy, Vincent 1431 da Silva, Fabio Roberto 1181 Dadelsen, Hans-Christian von 278 Dadelsen, Georg von 2346 Dahlhaus, Carl 9, 690, 721, 723, 1042, 1145, 2208 Dale, Catherine 2130, 2133, 2134 Dalinkiavichus, G. 2675 Damerini, Adelmo 1208 Damm, Peter 213 Daniel, Keith W. 2004 Dann, Elias 1094 Dannessa, Karen L. 116 Danuser, Hermann 1883 Danzer, Otto 1207 Dart, Thurston 527, 1449, 2015 Daube, Johann Friedrich 727 Davenport, Mark 1735 Daverio, John 215, 286, 1146

David, Hans Theodore 2099 Davidjan, R. 2502, 2654 Davidson, Jane W. 2510, 2574 Davis, Peter G. 2365 Davis,William 353 De Kenessey, Stefania Maria 982 de Lerma, Dominique-René 42, 442, 610 de Smet, Robin 135 Dean, Geoffrey 1693 Dean, Robert Henry 1785 Dearling, Robert 1944 Deas, Stewart 1300 Dechant, Rudolf 710 Decker, Richard George 108 Defant, Christine 1235 Del Mar, Jonathan 942 Del Rosso, Charles Francis 1087 Delaere, Mark 489, 1456 Delbanco, Nicholas 2683 Delgado, Imelda 1278 Dell’Antonio, Andrea 284 DeLuke, R. J. 2560 Demaree, Robert William, Jr. 1514, 1523 DeMuth, Norman 1425 Denny, Thomas Arthur 2188, 2216 Dent, Edward J. 244 Derby, Richard 1266 DeRemer, Leigh Ann 2633 Desderi, Ettore 2034 Desmarais, Cyprien 906 Deutsch, Otto Erich 574, 2190 Devich, Marton 2619 DeVoto, Mark 2024 Dickinson, A.E.F. 2231 Dickinson, Peter 1988 Dietrich, Norbert 2144 Dinglinger, Wolfgang 1818 Dittrich, Marie-Agnes 1144 Dixon, Gail Susan 1967 Dixon, Joan DeVee 2057 Dodd, Gordon 134, 1415 Doflein, Erich 324, 797, 881, 1608 Donahue, Robert 1994 Doncaster, Sara 2268 Dorfman, Joseph 1615 Dorschel, Andreas 1205 Dossa, E. 2680 Dowling, Richard William 2027 Drabkin, William 891, 973, 1026, 1036, 1535, 2529 Drees, Stefan 1629, 1947, 2599 Dresser, Mary Anne 336 Drew, John Robert 743 Dreyfus, Laurence 807 Drinker, Henry Sandwith 1136 Dromey, Christopher 2451 Druce, Duncan 275 Drucker, Arno P. 420, 421

Indices Drude, Matthais 2153 Drüner, Ulrich 443 Drury, Jonathan Daniel 1564 Du Bois, Elizabeth Ann 329 Duarte, John W. 126 Dubiel, Joseph Peter 1925 Dubitzky, Franz 2328 Dudeque, Norton 1892 Dulak, M. 731 Dunhill, Thomas F. 680, 1194, 1853 Dunn, Nancy Rose 404 Dunn, Stephen Jack 470 Dunn, Thomas Dickerman 1772, 1773 Dunning, Albert 1036, 1757 Durante, Sergio 1297 Dürr, Alfred 803, 804 Durrani, Aaminah 2092 Dvarionas, Yu 2676 Dyer, Paul Eugene 2284 Dyson, George 1202 E Eagle, David William 461 Ebert, Alfred 977 Eccarius-Sieber, A. 25 Eddy, Marmee Alexandra 50 Edelmann, Bernd 2047 Eder, Leo 643 Edler, Arnfried 2230 Edwards, George 1532 Edwards, Owain 1306 Edwards, Warwick 1, 511, 512 Eggebrecht, Hans Heinrich 9 Ehrlich W. See Payne, Albert H. Eich, Katrin 1426, 1427, 1428 Eidenbenz, Michael 679 Eimert, Herbert 2412 Einstein, Alfred 1865, 1915 Eisen, Cliff 1, 1916 Eisler, Edith 1918, 2609, 2627, 2648, 2665, 2666 Elliott, Robert William Andrew 497 Elliott, Robin 2080, 2424 Ellis, Carolyn S. 2469 Ellis, Cynthia 35 Ellis, Katharine 564, 565 Ellsworth, Jane Elizabeth 1179 Elsen, Josephine Caryce 2056 Elste, Martin 2480 Elster, Steven 1690 Elvers, Rudolf 1886 Emerson, Isabell Putnam 1861 Engberg, Jon 2557 Engel, Carl 1051 Engelsmann, Walter 1025 Engländer, Richard 578 Eppelsheim, Jürgen 213 Eppstein, Hans 800, 801, 802, 1909

761 Erickson, Robert 1716 Ernst, Roy E. 2462 Espey, Sister Jule Adele 1606 Estrella, Arnaldo 2368 Evangelista, José 2079 Evans, Angela 1944 Evans, Edwin 1143 Evans, Gregory 376 Evans, Peter 521, 1211, 1219, 2259 Everett, Thomas G. 166 Everett, William A. 113 Ewen, David 191 Ewoldt, Patrice R. 555 Eynard, Marcello 1756 F Fabricus, Lars Borge 508 Fahl, Steffen 1695 Fahlbusch, Markus 2131 Fairbanks, Ann Kozuch 1723 Fairleigh, James Parkinson 734 Famera, Karen McNerney 57 Fanning, David 2286 Farish, Margaret K. 73 Farmer, Virginia 2367 Farrell, Hazel 2338 Farwell, Arthur 658 Farwell, Brice 381 Fauquet, Joël-Marie 215, 253, 561, 562 Faverman, John 1778 Favre, Max 1403 Fay, Laurel Elizabeth 595, 2269, 2291 Feder, Georg 261, 1513, 1539, 1565, 1572, 1573 Feldgun, G.G. 500 Fellerer, Karl Gustav 726 Fellinger, Imogen 1144, 1172 Fenley, John Franklin 2536 Fenske, David Edward 1153 Fenton, David 1 Ferares, Maurice 2711 Ferber, Wolfram 264 Ferguson, David Milton 1409 Ferguson, Donald N. 714 Fernández Cortés, Juan Pablo 1267, 1335 Ferrero, Mercedes Viale 1297 Ferroud, P.-O. 2067 Fertonani, Cesare 2379 Field, Christopher D. S. 1. 514, 518, 1291, 1735, 1760 Fieldman, Hali Annette 2210 Fifield, Christopher 1222 Fillion, Michelle 1, 424, 787, 1569, 1581, 1584 Filosa, Albert James, Jr. 1806 Findeisen, Nikolai Fedorovich 2341 Fink, I. 2499 Finlay, Ian F. 2800

762

Chamber Music: A Research and Information Guide

Finscher, Ludwig 66, 190, 204, 222, 228, 229, 234, 235, 250, 260, 261, 271, 402, 407, 945, 1519, 1860, 1864, 1916 Fischer, Klaus 1229, 2373, 2586 Fischer, Richard Shaw 1173 Fischer, Wilhelm 327 Fisher, Huot 87 Fisher, John Frederic 739 Fiske, Roger 198, 955 Fitsioris, George 946 Fladt, Hartmut 232, 835, 846 Flamm, Christa 401 Flatt, Rose Marie Chisholm 887 Fleischer, Heinrich 1096 Fleischhauer, Günter 213, 2550 Fleischmann, Hugo Robert 2372 Fletcher, Richard Wesley 153 Fleury, Louis 343, 361 Floros, Constantin 217, 1079, 1243 Flothuis, Marius 261, 1905 Floyd, Samuel A., Jr. 42 Flury, Richard 1420 Fog, Dan 398, 460 Forbes, Watson 69 Ford, Luan 2574 Foreman, Lewis 883 Foreman, Louis 306 Forman, Frank 2778 Forsberg, Carl Earl 1902 Förster, Anton 2161 Förster, Wolf Dietrich 1297 Forsyth, Ella Marie 68 Forte, Allen 855, 856, 1165, 2405 Foss, Hubert 1339 Fournier, Bernard 227, 699 Fraase, T. 1934 França, Eurico Nogueira 2369 François-Sappey, Brigitte 253 Frank, Alan 1467, 2465 Frank, Robert Eugene 2003 Franks, Richard Nelson 1956 Fred, Herbert William 1968 Freed, Isadore 2760 Freeman, Paul Douglas 2049 Freywald, Volker 334 Fribbins, Peter 2446 Frigyesi, Judit Laki 878 Frisch, Walter 737, 1170, 2112, 2118 Fritz, Rebekka 2329 Fruchtman, Efrim 442 Fruehwald, Scott 1501 Fry, J. 1543, 2486 Fryer, Cheryl A. 460 Fuhrmann, Roderich 430 Fuller, David 319, 553 Fuller-Maitland, John Alexander 2234, 2453, 2454 Funck, Heinz 1485

Funk, Floyd R. 2347 Funk, Vera 452 G Gaidamovich, Tat’iana Alekseevna 202 Gajewski, Ferdinand John 1279 Galeazzi, F. 682 Gallois, Jean 253 Gándara, Xosé Crisanto 1120 Garcia, Ana Lucia AltiNo 1196 Garden, Edward 1131 Gardner, John 2232 Garnier-Butel, Michelle 253, 559 Garretson, Homer Eugene 2472 Gasponi, Alfredo 2710 Gass, Glenn 1257 Gaulke, Stanley Jack 1290 Gaume, Mary Matilda 2254 Gay, Harriet 2646 Geeting, Daniel Meredith 341 Geidel, Stanley M. 1938 Geiringer, Karl 205, 2218 Genin, R.E. 677 Gennadiev, B. 2607 George, Alan 275, 1516 George, William H. 2593 Georgieff, Katherine Pejkarjanz 1626 Gérard, Yves 308 Gerber, Rudolf 1866 Gerlach, Reinhard 1665, 1822, 2114 Gerlach, Sonja 1590 Germann, Jörg 1528 Gerstenberg, Walter 1862 Gertler, André 2518, 2588 Giazotto, Remo 764 Gibbs, Alan 936 Gibson, John 753 Gibson, O. Lee 479 Gifford, Robert Marvin, Jr. 165 Gifford, Virginia Snodgrass 143 Gilbert, Anthony 275 Gille, Harry, Jr. 363 Gillespie, James E., Jr. 100 Gillet, Judy 2207 Gillies, Malcolm 823 Gilmore, George 180 Gingerich, Lora Louise 1652 Ginsburg [ = Ginzburg], Lev S. 915 Ginter, Robert Leon 1444 Ginzburg, Lev 2312, 2630 Glasow, Glenn Loren 2142 Gleason, Harold 192 Glenewinkel, Hans 2317 Glock, William 1250 Goldberg, A. L. 10 Goldberg, Emily 715 Goldberg, Halina 1281 Goldberg, Miles 1711

Indices Goldman, Jonathan 2079 Golianek, Ryszard Daniel 2273 Golomb, Uri 1814 Golovinskij, Grigorij 1129 Golovjanc, T. 672 Goosens, Eugene 269 Gore, Richard Taylor 1943 Gorecki, Henryk Mikolaj 1462 Gorman, Kurt George 160 Gorrell, Lorraine 2442 Göthel, Folker 606 Gottfried Scholz, 1144 Gottlieb, Jack 302 Gottron, Adam 574 Gould, Albert Oren 1493 Gould, Murray 491 Gow, David 842 Grabs, Manfred 1378 Gradenwitz, Peter 2109 Grasberger, Renate 336 Gratovich, Eugene 1651 Gratzer, Wolfgang 217, 1144, 1604 Grave, Floyd K. 1504, 1522 Grave, Margaret 1504 Graybill, Roger 2287 Graziano, John 659 Grebe, Karl 1881 Greene, Carol 769 Greenfield, Donald Tobias 926 Greet, Martin 1218 Greissle, Felix 2160 Gressang, Jean C. 728 Grew, Sidney 1009, 1010, 1011 Gribenski, Jean 411 Grice, Janet 2370 Griffiths,Paul 209, 225, 1319 Griller, Sidney 277 Grim, William E. 2031 Grodner, Murray 132 Groenke, K. 2277 Grolman, Ellen Kerry 1746 Grönke, Kadja 2281 Groschwitz, Gustav 129 Grote, Adalbert 2085 Groth, Clause Robert, Jr. 875 Grover, Ralph Scott 1272 Gruber, Gernot 232, 1188 Gruber, Gerold W. 1144, 2113 Gruess, Hans 2223 Gruhle, Wolfgang 77 Guardia, Ernesto de la 902 Güdelhöfer, Matthias 882 Guibbory, Yenoin Ephraim 1104 Gülke, Peter 2222 Gustafson, Bruce 553 Gut, Serge 567 Guttmann, Hadassah 1068 Guynemer, C. 2702

763 Gweon, Song Taeg 1879 Gysi, Fritz 892 H Haas, Karl 119 Hadow, William Henry 921, 1370 Haeften, Dorothea von 2644 Häfner, Roland 1200, 2042 Hahn, Chun-Fang Bettina 2127 Haimo, Ethan 1531, 2116, 2148, 2152, 2159 Haine, Malou 2743 Haines, Don Robert 1419 Hair, Graham 779 Halász, P. 1727 Halbreich, Harry 1406 Hall, Harry Hobart 396 Halm, Hans 255 Hamann, Peter 2429 Hambourg, Klement 1617 Hamburger, Povl 1950 Hamer, Janice Ellen 1480 Hammer, Mari Sweeney 2757 Hampton, Colin 2713 Hanley,Andrew 519 Hanninen, Doris A. 2430 Hanning, Barbara R. 558 Hansen. Mathias 717 Hanslick, Eduard 483 Hanson, Alice Marie 482 Haraszti, Émile 820 Harbison, John 1134 Harkins, Elizabeth Remsberg 2073 Harley, James Ian 2435 Harman, Dave Rex 1744 Harp, D. 2651 Harper, John 510, 1435, 1436 Harper, Patricia 810 Harpster, Richard William 767 Harris, Brian Lorne 1126 Harris, E. Scott 2447 Harris, Jane Duff 1249 Harriss, Elaine Atkins 462 Hartke, Stephen Paul 1326 Hatten, Robert S. 719, 759, 911, 994 Hattesen, Heinrich Helge 2120 Hauer, Christian 2126, 2136 Haugan, Edwin Lyle 2395 Haugen, Einar Ingvald 2707 Hauser, Emil 2460 Häusler, Josef 1753 Hausswald, Günter 437 Hawkins, Frank V. 2744 Hayes, Robert 1958 Haynes, Bruce 98 Hayward, John Davey 706 Headington, Christopher 196 Headlam, Dave 940, 2657 Headrick, Samuel Philip 1252

764

Chamber Music: A Research and Information Guide

Heartz, Daniel 2799 Hechtel, Herbert 755 Hedges, Bonnie Lois 1327 Hedin, Einar 639 Hedlund, Harry Jean 345, 369 Hefling, Stephen E. 215 Heilmair, Bärbel Ulrike 1439 Heim, Norman 331 Heimeran, Ernst 2505 Hein, Hartmut 264 Heine, Christiane 636, 1999, 2000, 2001 Heinzel, Mark Alexander 1901 Heister, Hanns-Werner 217 Heitmann, Christin 1398 Heller, Friedrich C. 487, 1144 Hellquist, Pers-Anders 642 Hellwig-Unruh, Renate 1797 Helm, Everett 48, 1837 Helm, Sanford M 91 Helm, Theodor 903 Helmen, Lillian Campbell 2468 Helms, Siegmund 2236 Hemel, Victor van 197 Henderson, Archibald Martin 540 Henderson, Donald Gene 1979 Henderson, Ronald Duane 2263 Hendricks, Karin S. 2201 Henke, Matthias 278 Henle, Günther 1033 Hennessee,Don A. 239 Henrotte, Gayel Allen 480 Henry, Jacques 1852 Hérarún-Javakhishvili, Fíona 2093 Herbert, Ilse L. 316 Herbort, Heinz Josef 2631 Hering, Hans 425 Herlin, Michael 2169 Hermann, Myrl Duncan 657 Herresthal, Harald 717 Herwegh, Marcel 2541 Herzfeld, I. 1461 Hess, Ernst 1924 Hess, Reimund 1595 Hettergott, A. 2091 Heuss, Alfred Valentin 725 Hickman, Roger 243, 251, 252 Hiebert, Elfrieda Franz 1043 Hiekel, Jörn Peter 278 Hill, George R. 391, 444, 491 Hill, John Walter 2362 Hill, Richard S. 2166 Hill, William G. 1161 Hillman, Adolf 36 Hinderberger, Adolf 1527 Hinrichsen, Hans-Joachim 232, 1426, 1430, 2192, 2194 Hinson, James McCardell 456 Hinson, Maurice 168

Hirota, Yoko 876 Hirshberg, Jehoash 1069 Hisama, Ellie M. 2257 Hiscock, Sherrick Sumner, II 147 Hitchcock, H. Wiley 203, 1643 Hitchens, Susan Hayes 1638 Hitzler, Erika 232, 2449 Hixon, Donald L. 518 Hoban, Wieland 2252 Hoboken, Anthony van 406 Hobstetter, Robert 423 Höcker, Karla 200, 223 Hofacre, Marta Jean 377 Hoff, Helen Arlene 1317 Hoffman, Eva 2647 Hoffmann, Freia 2773 Hoffmann, Hans 305 Hoffmann, Peter 1725, 1726 Hofmann, Kurt 585 Hofmeyer, Günter 585 Hogg, James 780 Hogwood, Christopher 299 Holecek, Jaroslav 62 Holetschek, Franz 2576 Hollander, Hans 2248 Hollis, George Truett 633 Holman, Peter 35, 515, 519, 1682, 2013, 2014 Holzbauer, Hermann 1418 Homuth, Donald 127 Honegger, Arthur 694 Hoogerwerf, Frank William 1987, 1990 Hopkinson, Cecil 395, 620 Horan, Catherine Anne 416 Horne, Aaron 71, 93, 95, 156, 170 Horsbrugh, Ian 1663 Horstman, Jean 1713 Horton, John 1491, 1801 Hosek, Miroslav 102 Houle, George 1935 Houser, Roy 89 Houtchens, Alan 1364 Howard, Jeffrey 2256 Howard, Keith 2436 Howart, Roy 823 Howells, Herbert 2030 Howes, Frank Stewart 2361, 2387 Hoyle, Wilson Theodore 1414 Hruby, Frank 2626 Huang, Wei-Der 498 Hübsch, Lini 937 Huey, Daniel James 1691 Hughes, Charles William 2787 Hughes, Rosemary 1510 Huismann, Mary Christison 1336 Huldt, Birgitta 548 Hull, A. Eaglefield 245 Hullah, John Pyke 224 Hulme, Derek C. 595, 2269

Indices Hulse, Lynn 519 Hümmeke, Werner 1894 Hummel, Donald Austin 109 Hunkemöller, Jürgen 1903, 1907 Hunter, Mary 1508 Hüppe, Eberhard 278 Hurwitz, David 1248, 1500 Huschke, Konrad 2185 Hush, David 782 Husted, Benjamin F. 370 Hutchings, A.J.B. 1337 Hutschenruÿter, Wouter 204 Hyde, M. M. 2140 Hymanson, William 1605, 2165 I Indorf, Gerd 914 Indy, Vincent d’ 193 Iotti, Oscar R. 110 Irvine, Thomas Alexander 1919, 1920 Irving, Howard Lee 410 Irving, John Alan 1516, 1872, 1877, 1921, 2350 Ivashkin, Alexander 553 J Jackson, Roland 679 Jacobs, Richard Morris 788 Jacobson, L. 2730 Jahn-Bossert, Hans-Peter 1732 Janecek, Karel 2308 Janello, Mark K. 1413 Janetzky, Kurt 378 Jang, Gyeon-sil 1880 Jardillier, Robert 1424 Jarman, Douglas 275 Jazwinski, Barbara 816 Jeffery, Christopher 2145 Jemnitz, Alexander 867 Jenkins, J. Daniel 1264 Jennings, Linda Gail 1052 Jennings, Vance Shelby 1991 Jensen, Eric Frederick 2397 Jensen, Lisbeth Ahlgren 1316 Jensen, Niels Martin 297, 1236, 1297, 1438 Jessulat, Ariane 1815 Johansen, Gail Nelson 1029 Johnson, Douglas P. 930, 961 Johnson, Jane Troy 306 Johnson, Rose-Marie 121 Johnstone, H.D. 528 Jolivet, Hilda 1692 Jones, David Wyn 1497, 1516, 2357 Jones, Jonathan Barrie 1407 Jones, Walter James 360 Jones, William 1103 Jordan, Myles 2132 Jordan, Roland Carroll, Jr. 2162

765 Josephson, Nors S. 1671 Jost, Peter 1204, 1426, 2217, 2428 Judenic, Nina 916 Jürgen Selk, 2420 Jusfin, Abram 654 K Kabisch, Thomas 2025 Kaderavek, Milan R. 1664 Kagan, Susan 2070 Kahl,Willi 581, 2319 Kahn, Anna Patricia 2649 Kaltschmid, Michel 2084 Kamien, Roger Jacques 1059 Kämper, Dietrich 594 Kaplan, David Leon 347 Kaplan, Richard Andrew 2402 Karjalainen, Tuulikki 549 Kárpáti, János 748, 819, 823, 827, 844 Karsch, Albert 408 Karstädt, Georg 339 Kartman, Myron Herbert 850 Katkus, Donatus 2662 Katz, Derek 215, 2310 Katzenberger, Gunter 2237 Kaufmann, Harald 1751 Kawohl, Friedemann 691 Keahey, Delores Elaine Jerde 793 Keathley, Gilbert Harrell 382 Keays, Mary Lee 2313 Keedy, Nathan Andrew 1787 Keefe, Simon P. 1867 Kehr, Günter 2511, 2547 Keil, Siegmar 585 Keil, Ulrike Brigitte 1738 Keillor, Frances Elaine 1631 Keldysh, Yury 2289 Keller, Hans 1118, 1216, 1512, 1846, 1847, 1927, 2290, 2526 Keller, J. B. 2731 Kelly, David Terrence 817 Kelton, Raymond Harrison 1791 Kempski-Racoszyna-Gander, Irina von 1140 Kempter, Peter Kyle 1038 Kennard, Jennifer Christine 391 Kennedy, Dale Edwin 1345 Kennedy, Michael 619 Kennedy, Paula 2625 Kent, Christopher 1379 Kerman, Joseph 895, 911, 948, 1784 Kessler, Franz 505 Keym, Stefan 1426, 1432 Keys, Ivor Christopher Barfield 1139 Khittl, Christoph 217 Kidd, James C. 1619 Kidd, Ronald R. 320 Kielian-Gilbert, Marianne 2331, 2333 Kilburn, Nicholas 221

766

Chamber Music: A Research and Information Guide

Kim, Helen Heran 1261 Kim, Ji Hun 1314 Kim, Jiesoon 1997 Kim, Jinyoung 1367 Kim, Susan Lee 1152 Kim, Yeon-Su 1262 Kinderman, William 889, 891, 911, 1049 King, Alexander Hyatt 199, 1845, 1854, 1897 King, Elaine C. 2783 Kinsky, Georg 255 Kirchner, Gerhard 799 Kirk, Elise Klihl 1708, 2746 Kirkendale, Warren 729, 1008, 1013, 1014 Kirtley, Kitty 2725 Kiser, Molly 1640 Kish, Anne L. 2261 Kjemtrup, I. 2577 Klassen, Janina 2224 Klauwell, Otto 292 Klein, D. 254 Kleinertz, Rainer 1667 Klenz, William 1125 Klingenbeck, Josef 1996 Klitz, Brian Kent 313, 368 Klockow, Erich 1887, 1888 Kloecker, Dieter 1829 Kloppenburg, W C. M. 528 Klugherz, Laura Jean 1840 Knape, Walter 762 Knittel, Kay M. 974 Knittel, Kristin Marta 951, 1016 Koay, Kheng Keow 1479 Kobylanska, Krystyna 350 Köchel, Ludwig Ritter von 491 Köhler, Louis 2668 Kohlhase, Hans 1148, 1811, 2233, 2239, 2241 Kohnen, Daniela 2745 Koivisto, Tuija Tiina Hannele 1258 Kolisch, Rudolf 2589 Kolneder, Walter 1616 Komlós, Katalin 409, 1904 Kon’kova, Galina 646 Konold, Wulf 230 Konrad, Ulrich 1916 Koo, Jae-Hyang 432 Koper, Robert Peter 1622 Kopfermann, Michael 985, 1006 Kopitz, Klaus Martin 264 Kopp, David 736 Kopp, Kai 1036 Korhonen, Kimmo 545 Kornstein, Egon F. 2512 Kortsen, Bjarne 610, 611 1472 Kos, Koraljka 1560 Kostka, Stefan Matthew 1609 Kotta, Kerri 2282 Kovacs, Ilona 1355

Kramarz, Joachim 231 Kramer, Jonathan D. 1018, 1019, Kramer, Lawrence 1020, 1045 Kramer, Muriel 418 Kramer, Richard 261, 891, 986, 1026, 1031, 1064 Kramer, Ursula 717 Kramme, Joel 519 Krantz, Eldon LaVar 1416 Kratochvil, Jirì 354, 1939 Kraus, Joseph Charles 1851 Krause, Emil 582 Krebs, Harald 911 Kreft, Ekkehard 962 Krehbiel, Henry Edward 1366 Krein, Iulian Grigor’evich 1322 Krempien, Rainer 607 Krenek, Ernst 1717 Krenz, K. 547 Kreyszig, Walter Kurt 2411 Krischke, Claudia 2381 Kroeger, Karl Douglas 771 Kroher, Ekkehart 1520 Kroll, Mark 1026 Krones, Hartmut 1144 Kropfinger, Klaus 891, 989 Krout, Karen June 2384 Krumhansl, Carol L. 696 Krummacher, Friedhelm 217, 226, 232, 685, 701, 971, 1091, 1144, 1163, 1804. 1807, 1809, 1813, 1855, 1893, 1951, 2245, 2303, 2304, 2322, 2432 Krustev, Venelin 491 Kube, Michael 272, 627, 1144, 1185, 1612, 1613, 1912 Kubitschek, Ernst 1593 Kuchera-Morin, JoAnn 2433 Kuehn, F. 2622 Kuhn, Laura 4 Kuijken, B. 808 Kukumi, Klarita 473 Kuliev, Tokhid 488 Kull von Niederlenz, Hans 1361 Kunze, Stefan 891 Kuon, Peter 1144 Kurajdova, Ema 2769 Kurth, Richard 2156 Kurtz, Saul James 390 Kvet, J.M. 2628 L La Face Bianconi, Giuseppina 2220 La Laurencie, Lionel de 322, 1483, 1742 La Via, Stefano 2736 Labhart, Walter 439 Labrador, Gennán 2771 Lachenmann, Helmut 1730 Laciar, Samuel L. 2181

Indices Lai, Eric Chiu Kong 2401 Lai, Ting-Ju 2265 Laing, Millard Myron 2045 Laki, Peter G. 1706 Lam, Basil 899 Lam, Yuen Ching 609 Lampert, Vera 823 Landau, Victor 750 Landon, H. C. Robbins 1497, 1498, 1499, 1502, 1537, 1574, 1582, 1848 Lane, George B. 163 Langley,Richard Douglas 1268 Langlois, Frank 253 Langosch, Marlene Joan 1596 Lapie, Raymond 471 Larey, Franklin 1197 Larsen, Jens Peter 261, 406 László, Francisc 1911 Latten, James E. 2786 Laughton, John Charles 1835 Lauth, Wilhelm 1223 Lawrence, Ian 81 Lawson, Colin James 1201, 2475, 2570 Layton, Robert 1090, 2301 Le Coat, Gérard 352 Le Guin, Elisabeth 1109, 1110 Le Hurray, Peter 2482, 2483 Le Touzé, Denis 400 Leavis, Ralph 1933 Lechleitner, Franz 217 Lechleitner, Gerda 217 Ledbetter, Lynn Frances 2461 Lederer, Josef-Horst 1144 Lee, Colin A. 2781 Lee, Douglas A. 296, 1067, 519, 1948 Lee, Joo-Mee 2021 Lee, Jung-A. 1373 Lee, Ming-Wen 1167 Lee, Se-Yun 2749 Lee, So Young 2227 Lee, Sun Jo 2371 Lee, Walter Fulford 1656 Leed, Marika 550 Leeson, Daniel N. 1941 Lefkowitz, Murray 1734 Legras, Catherine 400 Lehmann, Ursula 238 Leibnitz, Thomas 217 Leichtentritt, Hugo 879, 2033 Leinert, Friedrich Otto 1206 Lemacher, Heinrich 13, 689 Leman, Craig B. 2751 Léner, Jenó 2501 Lepore, Angela 301 Leppert, Richard David 2803 Lessing, Wolfgang 2490 Lester, Joel 2251 Lester, Noel K. 1457

767 Lesure, François 362 Leszczynska, Elzbieta 650 Leuchter, Erwin 1441 Leung-Wolf, E. 2774 Levin, Thomas Y. 2485 Levy, Janet Muriel 1, 255, 922 Lewin, David 1387, 2170 Lewis, Edgar Jay, Jr. 392 Lewis, Enid 2579 Liao, Amber Yiu-Hsuan 435 Libby, Dennis 1299 Liew, Robert Chee Yee 441 Ligeti, György 1754, 1885 Lin, Hsin-Chieh 1282 Lin, Yea-Shiuh 413 Lindahl, Robert Gordon 375 Linde, Bernard van der 1036 Lindeman, Timothy H. 918 Lindgren, Lowell 2600 Lindsay, J. Maurice 1108 Linfield, Eva 1237 Link, Nathan 1168 Lippe, Klaus 232, 1075 Lippmann, Friedrich 66, 440, 931 Lister, William Warwick 337 Little, Fiona 577 Liu, Jing 2266 Liu, Yongping 1766 Livingstone, Ernest 950 Locke, Derek 841 Lockwood, Lewis 891, 911, 941, 1026, 1036, 1037, 1041, 1055, 2520 Lodes, Birgit 911, 981, 1036 Loft, Abram 85, 2479, 2718 Löher, Burckhard 1562 Loll, Werner 2444 Lomnäs, Erling 303 Lonchampt, Jacques 905 London, Justin Marc 1549, 1551 Lonnman, Gregory George 383 Loos, Helmut 891 Lott, Marie Sumner 2590 Louder, Earle L. 167 Loudon, J.S. 494 Lütteken, Laurenz 228 Luttmer, Be˘la 1684 Lynch, Stacy Combs 2679 M Maallem, Vanessa Chanson 2677 Maas, Gary L. 1686 Maaser, Leslie Goldman 2043 Maass, Ingeborg 1036 MacArdle, Donald W. 888, 983, 1061, 2726 MacAuslan, Janna 178 Macchione, Daniela 2752 MacDonald, Calum 1283, 1423 Mackenzie, Compton 2779

768

Chamber Music: A Research and Information Guide

MacKenzie, Nancy Mayland 2571 Mackerness, E.D. 805 Macomber, B. 2306 Mahaim, Ivan 969 Mahling, Christoph-Hellmut 717 Maindreville, Florence Doé de 1776 Maine, Basil 1381 Mäkelä, Tomi 2039 Malcolm, Noel 2709 Malderen, Anne van 2671 Mallows, Katherine 60 Mangeot, André 2149 Mangsen, Sandra 1, 300, 2477, 2478 Manion, Martha 1311 Mansfield, Orlando A. 1275 Marcan, Peter 2598 Marguerre, Karl 1913 Mari, Pierrette 569 Marissen, Michael 813 Markel, Robert 34 Markevitch, D. 1039 Marliave, Joseph de 896 Marold, A. 389 Maróthy, János 2297 Marschner, Bo 217 Marsh, Jerrode Kathleen 1842 Marshall, Robert L. 809 Marston, Nicholas 911, 979, 1047, 1050 Martens, Frederick Herman 2704 Martin Ruiz, Leticia 2699 Martin, Barrie 1794 Martin, Bernard 1775 Martin, Frank 1675 Martin, Robert 894 Martinotti, Sergio 600, 717 Martz, Robert William 2174 Marx, Hans Joachim 354, 1302 Maske, Ulrich 1645 Mason, Colin 10, 860, 880, 1600, 1703, 1831, 2330, 2392 Mason, Daniel Gregory 897, 1137, 1788, 2634 Mathez, Jean-Pierre 397 Matthews, David 1213, 1217, 1460 Matthew-Walker, Robert 1767 Maurer-Zenck, Claudia 217, 2652 Maurice, Donald 2295 Mauser, Siegfried 1144 Maxwell, John 1936 Mazurek, Ronald Casimir 2556 Mazurowicz, Ulrich 436 Mazzeo, Rosario 43 McAninch, Daniel Arthur 2573 McArtor, Marion 1445 McCaldin, Denis 1516 McCalla, James 216 McCarthy, Peter Joseph 1834 McClelland, Ryan C. 1151 McCorkle,Margit L. 315

McCormick, Cathy Louise 1099 McCredie, Andrew D. 587, 1496 McCreless, Patrick 2296 McCrickard, Eleanor Fowler 2326 McDonald, John Allen 1802 McFarlane, Meredith 531, 532 McGowan, Richard Allen 315 McGrady, Richard 1388 McKay, Elizabeth Norman 2212 McKay, James 383, 2688 McKenney, Nancy Jane 2068 McLane, Alexander B. 778 McMurtry, Barbara Hughes 1762 McNeal, Horace Pitman 757 McPhail, G. J. 554 McVeigh, Simon 531, 1448, 2737, 2738 Mead, Andrew Washburn 1260, 2176 Mead, Ernest Campbell, Jr. 1437 Medek, Tilo 717 Meelberg, Vincent 1731 Mehring, Arndt 1722 Meier, Adolf 1447 Mekota, Beth Anna 791 Melbinger, Timothy Gordon 2007 Melkus, Eduard 2242 Mellado, Daniel 111 Mellers, Wilfrid 556, 1308, 1310 Mellott, George Kenneth 137 Mendel, Arthur 1495 Menke, Johannes 990 Meredith, Margaret 525 Merriell, C. 2499 Merriman, Lyle 75 Mersmann, Hans 188, 2583 Messing, Scott 970 Metsk, Juro 630 Metzger, Heinz-Klaus 1953 Meyer, C. 451 Meyer, Ernest H. 10, 513, 573 Meyer, Eve Rose 481, 1442, 1494 Meyer, Felix. 666 Meyer, W. Frederick 463 Michaels, Jost 428, 1199 Midgley, Samuel 1023 Mies, Paul 705 Mila, Massimo 908, 956 Miles, Patrick 115 Milhaud, Madeleine 487 Miller, Leta E. 789 Miller, Lucy 678 Miller, Malcolm 911 Millican, Brady 1576 Milligan, Terry Gilbert 1653 Milton, Nicholas 2253 Mischakoff, Anne 1699 Mishkin, Henry G. 309, 2074 Misteli, Werner 473 Mitchell, Donald 1212

Indices Mitchell, William J. 1882 Mitterschiffthaler, Karl 63 Mizutani, Akira 2066 Mlejnek, Karel 2606 Moe, Orin, Jr. 741, 1541, 1544 Moeller, H. 1546 Moevs, Robert 1332 Moiseev, Grigorij A. 2344 Moisescu, Titus 1390 Moldenhauer, Hans 954 Möller, Martin 2036 Mollerhoj, Klaus 298 Molnár, Antal 1819, 2659 Monelle, Raymond 854, 861 Monod, Jacques-Louis 466 Monsen, Ronald Peter 1071 Montero García, J. 1747 Monterosso, Raffaello 2374 Montgomery, Michael Francis 1926 Moody, Ivan 2088 Moore, J. Robert 2082 Moore, Jerrold Northrop 1380 Moortele, Steven Vande 2450 Moraitis, John 2137 Moretti, Maria Rosa 522 Morgan, Robert P. 1288 Morgenstern,Sam 27 Morreau, Annette 2712 Morrill, Dexter 2780 Morris, Robert 2431, 2434 Morrison, Charles Douglas 839, 840, 863, 1755 Morrison, Nicholas 2358 Morrow, Mary Sue 477 Moseley, Roger Scott 1157 Moser, Andreas 1687, 2179 Moss, Lawrence 1974 Mudra, Darina 2452 Mueller, Hannelore 2591 Müller, Hertz 2722 Müller-Blattau, Joseph 967 Mullin, Carolyn Denise 2393 Mullins, Shirley Strohm 2664 Munneke, Russell Edward 2280 Murnighan, J. Keith 2519 Murray, Sterling E. 2065 Murrill, Herbert 2386 Müry, Albert 2012 Musgrave, Michael Graham 2110 N Nakagawa, Eri 415 Nash, Peter Paul 1446 Nattiez, Jean-Jacques 2079 Nautsch, Hans 1696 Nectoux, Jean-Michel 1401 Neff, Severine 2129, 2135 Neighbour, Oliver W. 1238, 2154 Neihouse, Paula M. 422

769 Neil, Gregory Alan 1341 Nelson, Kathleen E. 2615 Nembrini, Alissa 2637 Nemko,Deborah Gail 2225 Nerody, Ivan 625 Nestler, Gerhard 1597 Neubacher, Jürgen 1533 Neveu, Bernard 253 Newbould, Brian 2183 Newlin, Dika 1107, 2418 Newman, Richard 2725 Newman, Sidney 1928 Newman, William S. 279, 318, 766. 1910, 2471 Ng, Samuel 1178 Niaux, Viviane 253 Nichol, John 359 Nicholls, David 275 Nichols, William Roy 1392 Nicolosi, Robert Joseph 735 Niecks, Frederick 342 Niederberger, Maria Anna 2123 Niemisto, Paul 551 Niemöller, Klaus Wolfgang 264, 1820 Nikolaeva, N. 1830 Nimczak, Ortwin 1954 Nimetz, Daniel 1093 Nitschke, Wolfgang 812 Nobach, Christiana 1957 Nohl, Ludwig 684 Nolte, Ewald Valentin 1960 Norden, James Clarence 2549 Norris, Geoffrey 536 Norton, Mary Dows Herter 2491 Norton, Richard Edward 2351 Noske, Frits 1297 Notley, Margaret 215, 1159, 1175, 1195 Novak, Jelena 2414, 2415 November, Nancy Rachel 718, 1524 Nowak, Leopold 1226 Nowak-Romanowicz, Alina 1386 Nündel, Heinz 589 Nygren, Dennis Quentin 1334 O O’Hagan, Peter 544 O’Leary, Jane Strong 2416 O’Loughlin, Niall 97, 2278 Obelkevich,Mary Rowen 1032 Obenza, Markdavin 1966 Oberdörffer, Fritz 2575 Oberkogler, Wolfgang 273 Oberlag, Herbert Henry 101 Obert, Simon 2408 Oboussier, Philippe 256, 1660 Ochs, Michael 585 Oelmann, Klaus Henning 628, 1470, 1473 Ogdon, Wilbur Lee 1745 Oh, Jooeun 1410

770

Chamber Music: A Research and Information Guide

Ohlsson, Eric Paul 1058 Ohlsson, Jean Mary 1620 Ohno, Saori Sarina 2548 Oja, Carol J. 1792 Oleskiewicz, Mary A. 2019 Oleson, Orval B. 602 Olleson, Philip 247 Olmstead, Andrea 2262 Olsen, Deborah M. 663 Olson, Terran 859 Omonsky, Ute 348 Oncley, Lawrence Alan 2445 Oneglia, Mario Francesco 398 Ong, Seow-Chin 911, 949, 1046 Oost, Gert 213 Opperman, Kalmen 145 Oramo, Ilkka 873 Orchard, Joseph Thomas 1857 Orel, Alfred 2214 Orenstein, Arbie 2022 Orle, Alfred 1065 Orrego Salas, Juan 1035 Osborn, Thomas Montgomery 457 Osthoff, Wolfgang 891, 1036 Ostrow, Isaac M. 1097 Otaki, Michiko 1060 Otonkoski, Lauri 1487 Otten, Marÿke 141 Ottlová, Marta 2105, 2311 Ottner, Carmen 217, 232 Ottner, Carmen 2309 P Packard, Dorothy R. 2559 Page, Athol 2492 Pajerski, Fred Mitchell 2354 Palkovic, Mark 182 Palmer, Peter 543 Palmieri, Robert 536 Pancernova, T. 2796 Pangels, Charlotte 763 Pankaskie, Lewis V. 1529 Pannain, Guido 768 Panner, Daniel Z. 1917 Paprocki, Daniel Arthur 152 Parera Villalón 2756 Parish, George David 1076 Parker, Henry Taylor 2635, 2663 Parker, Mara Emily 76, 257, 579, 733, 1112 1896 Parker, Robert L. 1273 Parr-Scanlin, Denise 2703 Parsina, Marija 2087 Parsons, Pleasants Arrand 2018 Pascall, Robert 1203, 2157 Pasztor, Akoslaying 2107 Pavanello, Agnese 1304 Paymer, Marvin E. 524 Payne, Albert H. 2601, 2602

Payne, Anthony Edward 1214, 1789 Payne, Dorothy Katherine 1618 Payne, Ian 516 Pechstaedt, Volkmar von 361 Pecman, Rudolf 675, 2543 Pedigo, Alan 86 Peel, John M. 2163 Peersen, Hild Breien 1092 Pejovic, Roksanda 2767 Peles, Stephen V. 2146 Pellerite, James J. 138 Pepper, William Bloomfield, II 2551 Perle, George 830, 1080, 2255 Perry, Jeffrey 2404 Perry, Richard Kent 1781 Persky, Stanley 2398 Pestalozza, Luigi 1662 Peterman, Lewis Emanuel 1122 Peters, Harry B. 103 Peters, Helmut 2316 Petersen, Elly Bruunshuus 1952 Peterson, Denise Y. 2685 Peterson, Kirsten 2095 Petrat, Nicolai 708 Petrella, Robert Louis 1836 Petrobelli, Pierluigi 1297 Petrushanskaia, Remma Eosefovna 652 Pettway, B. Keith 1782 Petty,Wayne C. 1189 Pfann, Walter 1876 Pfannkuch, Wilhelm 1712, 2175 Pfarr, Kristina 717 Pfeiffer, Rüdiger 1399 Phelps, Roger Paul 656 Phelps, Thomas 1649 Phillips, Elizabeth Van Vorst 1233 Piana, Dominique 183 Piastro,Mishel 2470 Pickard, Alexander L., Jr. 1655 Pierce, David M. 2572 Pierce, Edwin Hall 688 Piersol, Jon Ross 393 Pietrachowicz, Juliusz 617 Pietschmann, Klaus 264 Piggott, Patrick 1417 Pike, Gregory Burnside 1246 Pilipczuk, A. 2801 Pilka, Jiri 2614 Pilková, Zdenka 213 717 Pincherle, Marc 237, 1298, 2605 Pincus, Andrew L. 2650 Ping-Robbins, Nancy R. 114 Pinkow, David James 159 Pinto, David 519, 1735, 1736, 1737 Piperno, Franco 1297 Pisano, Kristin L. 146 Piscitelli, Felicia 886 Pitts, Stephanie E. 2766

Indices Plaistow, Stephen 1294 Planyavsky, Alfred 449 Platen, Emil 891, 1053 Pleasants, Henry 747 Pleyel, Wolff 568 Plugge, Scott Douglas 358 Pochon, Alfred 2500 Poirier, Alain 253 Pollack, Howard 1993 Polth, Michael 2143 Pook, Wilfrid 1492, 2545 Poray-Kuczewski, Kasimir 1130 Porter, Charles Edwin 1073 Portugais, Jean 2079, 2081 Posell, Jacques 133 Postolka, Milan 1986 Poszowski, Antoni 614 Potter, Caroline 275 Potter,Tully 275, 2653 Poulin, Pamela 2005 Pound, Gomer 1824 Pousseur, Henri 2403 Power, R. S. 1750 Prefumo, Danilo 1962 Preston, Robert Elwyn 1740 Prevost, Roxane 1770 Price, Jeffrey Keith 104 Prochazka, Rudolph Ludwig 502 Provost, Serge 2079 Przybylski, Tadeusz 616 Pukl, Oldrich 1710 Pung, Andres 849 Purdue, E. 1714 Purswell, Joan 173 Pusey, Marcel W. 1525 Pusey, Robert Samuel 1657 Pütz, Werner 1607 Q Quackenbush, Margaret Diane 1644 Queux de Saint-Hilaire, August Henry Edouard 692 R Raab, Armin 1036 Raaben, Lev Nikolaevich 648, 649, 1451, 2497 Rabich, E. 15 Radcliffe, Philip 898 Raditz, Edward 1106 Radovic, Branka 1344 Raeburn, Andrew 1914, 1930 Ragot, Marie-Laure 1833 Rakestraw, Eric 2020 Ramsier, Paul 2359 Randall, David Max 366 Randall, J.K. 1561 Randel, Don Michael 6, 7, 8 Rands, Bernard 838

771 Rangel-Ribeiro, Victor 34 Ranzenhofer, Olga 2079 Rao, Nancy Yunhwa 671, 2258 Rarig, Howard Raymond, Jr. 2377 Rasch, Rudolf 64 Rast, Nicholas 2202 Rastall, Richard 2476 Rathert, Wolfgang 833, 1426, 1433, 2420 Rathgeber, Erike 232, 1666 Rathke, Donna Rager 169 Ratner, Leonard G. 917 Ratskaia, Tsetsiliia Samoilovna 651 Rau, Ulrich 454, 815 Rauchhaupt, Ursula von 274 Rauss, Denis-François 1331 Ravizza, Victor 1190 Rea, John Rocco 2079 Rectanus, Hans 1981, 1983, 1985 Redfield, John 703 Redlich, Hans Ferdinand 1072, 1225 Reed, Carl Hadley 1526 Reed, David F. 1394 Reel, James 2325, 2716 Reeser, Eduard 325 Reich, Wolfgang 2376 Reicha, Anton 2046 Reichardt, Johann Friedrich 234 Reichardt, Sarah Jane 2276 Reicher, Walter 1513 Reimer, Erich 674 Reininghaus, Frieder 720 Reiser, Salome 232, 1160, 2195 Reish, Gregory N. 2078 Reissmann, August 707 Reiter, Elisabeth 1158 Renger, Jens 924 Renner, Hans 218 Resch, Gerald 1227 Response, John 1001 Revers, Peter 48, 217, 236, 1144 Reynolds, Christopher 1015 Rhodes, Samuel 1602 Rice, Albert R. 364 Rice, Edwin T. 665 Rice, Hugh Collins 2089 Richard, Albert 2717 Richards, Annette 1570 Richards, J. M. 522 Richards, John K. 106 Richter, Johannes Friedrich 40 Riddick, Frank Cary 2448 Ridgewell, Rupert M. 2732 Riedel, August 485 Riehl, Wilhelm Heinrich von 438, 1720 Riemann, Hugo 296, 575, 576, 904, 1929, 2098 Riethmüller, Albrecht 993 Rigler, Gertrude 1348 Rijavec, Andrej 673

772 Riley, Patrick Robert 2355 Rimmer, Frederick 1105 Ris, A. 2672 Rischin, Rebecca 1826 Riseling, Robert A. 965 Ritsema, Herbert 1989 Ritter, Frederic Louis 697 Ritz, Lynette Carol 1391 Rivera, Ernesto Alonso 618 Robert, Frédéric 253, 1481 Robert, Michel Fleury, 253 Roberts, James E. 164 Robertson, Alec 212 Robertson, Paul 2724 Robin Wallace, 1001 Robinson, Edith 2527 Robison, John O. 2535 Rochberg, George 2058 Rockmaker, Jody Darien 1074 Röd, Wolfgang 1144 Rode-Breymann, Susanne 217 Roe, Stephen 792, 794 Roeder, Michael T. 2327 Roesner, Linda Correll 2238, 2240 Rogers, Joseph Earl 744 Röhring, Klaus 2097 Rohringer, Stefan 2246 Roman, Zoltan 629 Roncaglia, Gino 1241 Roos, Pauline de 362 Rosato, Paolo 991 Roseberry, Eric 2272 Rosen, Charles 1503, 2184 Rosen, Judith 783 Rosenhaus, Steven L. 1975 Rosenthal, Albi 1036 Ross, Alex 1748 Ross, Mark Alan 1828 Rossana Dalmonte, 1297 Rostal, Max 2539 Rostand, Claude 12 Rothenberg, Florie 2777 Rothweiler, Hugo 246 Rotter, Signe 2321 Rotter-Broman, Signe 2324 Rounds, David 2658 Rowen, Ruth Halle 67, 211, 681 Rowland-Jones, Anthony 2569 Roy, Jean 253 Rozic, Vesna 1224 Rozin, Alexander 715 Rozin, Paul 715 Rubbra, Edmund 2069 Rubinstein, Seymour Z. 2534 Ruf, Wolfgang 213, 1191 Rufer, Josef 557 Ruff, Philipp 2191 Rufino, Vincent J. 1931

Chamber Music: A Research and Information Guide Ruhnke, Martin 615 Ruiz, Sergio H. 1465 Rupertus, Otto 1024 Rush, Ralph Eugene 350 Russell, Craig H. 631 Russell, John F. 61 Russell, Todd Benjamin 928 Rutan, Harold Duane 2474 Rutherford, Charles Leonard 1440 Rutkowski, Joseph 2464 Ruttencutter, Helen Drees 2638 Ryan, Pamela Louise 935 Ryberg, James Stanley 2008 Ryom, Peter 624 S Saak, Siegfried 1274, 1277 Saam, Joseph 431 Saathen, Friedrich 1377 Saby, Pierre 400 Saccà, Luigi 1759 Sacchini, Louis Vincent 148 Sachs, Klaus-Jürgen 1186 Sachse, Hans-Martin 2189 Sadie, Julie Anne 469 Sadie, Stanley 1, 530, 533, 773, 2439 Sagul, Edith 2785 Saint-Foix, Georges Poullain 1375, 1899 Salibian, Ohannes Sarkis 758 Sallis, Friedemann 1841 Sallmen, Mark 2407 Salmen, Walter 709, 939, 2733, 2798 Saloman, Ora Frishberg 975 Saltonstall, Cecilia Drinker 27 Saltonstall, Henry 27 Salvetti, Guido 258, 1111, 1119, 1863 Samama, Leo 2288 Samohyl, Franz 486 Samson, Jim 56 Sánchez, Héctor J. 823 Sanchez, Richard Xavier 632 Sand, Barbara Lourie 2678, 2764 Sandberger, Adolf 239 Sandner, Wolfgang 2389 Sandu-Dediu, Valentina 1942 Sannemüller, Gerd 2026 Sarkisjan, Swetlana 1478 Saslav, Isidor 2587 Sasse,Konrad 404 Satory, Stephen 591 Sauzay, Eugène 262, 2580 Saverzasvili, Aleksandr 571 Saxer, Marion 278, 1411 Scelba, Anthony 450 Schaal, Richard 79, 1698 Schachter, Carl E. 1030, 1895 Schafer, Kimberly Ann 2636 Schafer, Raymond Murray 2079

Indices Schäffera, Boguslawa 1769 Schaffner, Anne 44, 259 Schanzlin, Hans Peter 645 Schauffler, Robert Haven 2182 Schaul, J.B 722 Schenk, Erich 304, 597 Scherchen, Hermann 1012 Schermer, Richard 1647 Schewe, Gisela 2052 Schick, Hartmut 232, 1362, 1363, 1916 Schiff, David 1247 Schilling, Hans Ludwig 2335 Schindler, Kurt 2121 Schjelderup-Ebbe, Dag 1469 Schlossberg, Artur 287 Schlüter, P. 268 Schmalfeldt, J. 1900 Schmid Manfred Hermann, 891 Schmid, Ernst Fritz 785 Schmid,Willi 2522 Schmidt, Christian Martin 217, 1144, 2106, 2124, 2167, 2168 Schmidt, Dörte 1256 Schmidt, Ferdinand August 2742 Schmidt, Günther 1702 Schmidt, Hugo Wolfram 689 Schmidt, John C. 1964 Schmidt-Beste, Thomas 264, 1908, 2048 Schmieder, Wolfgang 233 Schmitz, Hans-Peter 2481 Schmoll, Joseph Benjamin 2051 Schmuhl, Boje E. Hans, 348 Schneider, David E. 2400 Schneider, Frank 588 Schneider, Herbert 470, 1354 Schneider, Otto 491 Scholes, Percy 16 Schonberg, Harold C. 184, 2687 Schoute, Rutger 606 Schreiner, Martin 1254 Schröter, Fritz 1838 Schubert, F.L. 686 Schubert, Giselher 414, 1426 Schuhmacher, Gerhard 1816 Schulenberg, David Louis 786 Schuller, Gunther 2554 Schumann, Otto 45 Schumann, Robert 263 Schünemann, Georg 294 Schwab, Heinrich W. 717, 2797 Schwadron, Abraham 365 Schwarting, Heino 1579 Schwarz, Boris 560 Schwarz, Erwin 501 Schwarz, Vera 2741 Schweiger, Dominick 232, 2406 Schweitzer, Eugene William 756 Schwindt-Gross, Nicole 207, 732

773 Scott, Cyril 687 Scott, Hugh Arthur 534 Scott, Marion Margaret 2538 Scott, William 2581 Scott-Sutherland, Colin 884, 1633 Seagrave, Barbara Ann Garvey 2533 Seaman, Gerald 621, 622 Seay, Albert E. 344 Sebastiani, Adriano 1963 Secrist-Schmedes, Barbera 90 Seedorf, Thomas 276 Sehnal, J. 288 Seiber, Mátyás 822, 825 Seidel, Wilhelm 1873, 1884 Seiffert, Wolf-Dieter 1856, 1858, 1871, 1916 Seither, Charlotte 1086 Sekine, Kazue 964 Selfridge-Field, Eleanor 599, 1771 Selleck, John 1764 Selva, Blanche 282, 332 Semple, Arthur E. 2612 Seraphin, Hellmut 1321 Serly, Tibor 747 Serwer, Howard 1499 Seta, Fabrizio della 1297 Seydl, J.A. 62 Sgaria, Giovanni 1843 Shackford, Charles Reeve 2594 Shand, David Austin 333 Sharp, J. Wharton 740, 2504 Shaw, Gertrude Jean 328 Sheer, Miriam 893, 2804 Sheldon, David Alden 317, 1400 Sheldon, Paul Melvin 1393 Shepherd, Arthur 900 Sher, Daniel Paul 2352 Shera, Frank Henry 1323 Sherlock, Andrea Elizabeth 1147 Shinn, Randall Alan 1265, 1688 Shirey, Betty 662 Shochman, G. 2299, 2621 Shoemaker, John Rogers 107 Shofner, Terree Lee 784 Sibbing, Robert Virgil 1312 Sidoti, Raymond Benjamin 874 Sieber, Tilman 444 Siegfried, E. 2199 Siegmund-Schultze, Walther 213, 828, 1870 Sievers, Heinrich 583 Sikorski, Hans 595 Silbert, Doris 1518 Silbiger, Alexander 1297 Silliman, A. Cutler 670 Simon, Eric 92, 2040, 2250, 2390 Simpson, Raynold 2141 Simpson, Robert 1949 Sinjavskaya, L. 623 Sirker, Udo 351

774

Chamber Music: A Research and Information Guide

Sirman,Mitchel Neil 2314 Sisman, Elaine R. 1559, 1587 Siwe, Thomas 176 Sjoerdsma, Richard Dale 1946 Sjöqvist, Gunnar 1849 Skempton, Alec 1761 Skowron, Zbigniew 717 Skowronski, Joann 353 Skvorak, David John 1795 Slattery, Thomas Carl 1464 Slonimsky, Nicolas 4, 5, 10 Slosberg, Helen S. 2759 Smaczny, Jan 1372 Smallman, Basil 1, 399, 426 Smialek, William 1352 Smith, Alan Michael 1115 Smith, Arthur Duane 2285 Smith, Carleton Sprague 1592 Smith, Jeffrey A. 1689 Smith, Joan Templar 2059 Smith, Julia Frances 1293 Smith, Kathryn 519 Smith, Nancy Page 661 Smith, Peter H. 1156, 1164, 1180, 1198 Smith, Robert Ludwig 1044 Smith, Terry Fonda 2789 Smith, Thomas Rodgers 1395 Smith, W. Leggat 1108 Smith, Walter E. 2072 Smithers, Don 314 Smyth, David Harold 980 Snavely, Jack 2697 Snowman, Daniel 2617 Snyder, Robert Charles 1484 Sobaskie, James William 2203 Solare, Carlos María 2670 Solomon, Maynard 1026 Solondz, Simone 2790 Solovtsova, Liubov’ Andreevna 1128 Solow, Jeffrey 130, 131 Sômer, Avo 1333 Somfai, László 261, 834, 1509, 1538, 1556, 2528 Sondheimer, Robert 1534 Sonntag, Wesley 725 Soroker, Iakov L’vovich 2010 Sorrento, Anna 522 Soskin, Eileen 751 Sourek, Otakar 1360 Sourtzi, Maria 2410 Soutar, Marjorie Elizabeth 1245 Spangenberg, Martin 2436 Speck, Christian 1114 Spelman, Leslie P. 174 Spengler, Gernot 2055 Speranza, Ennio 2366 Spicknall, John Payne 1315 Spies, Bertha 1752 1765 Spies, Claudio 1973

Spinner, Leopold 2419 Spinosa, Frank 836 Spitzer, Michael 952, 1004, 1516, 1555 Spohr, Louis 2503 Spóz, Andrzej 615 Spranger, Eduard 713 Spring, Matthew 519 Sprissler, Alfred 2558 Squire, Alan Paul 2473 Staehelin, Martin 261, 644, 891 Staehle-Laburda, Michael 1718 Staempfli, Edward 2173 Stahmer, Klaus Hinrich 472, 702, 1369, 2332, 2802 Standen, B.P. 2795 Stanfield, M.B. 2565 Staples, James Gwynn 434 Starkey, Willard A. 394 Starobinski, Georges 2100 Starr, James 335, 417 Stedron, Milos 1670 Steffan, Andrea J. 1343 Stegmüller, Jügen 79 Stein, Don Allan 1253 Stein, Erwin 745, 2147, 2178, 2334, 2409, 2417 Stein, Franz A 35 Stein, Fritz 539 Steinberg, Lester 1575 Steinberg, Michael 1255 Steiner, Fred 2108 Steinhardt, Arnold 2643 Steltner, Ulrich, 1667 Stephan, Rudolf 217, 968 Stern, Marion Goertzel 429 Stern, Milton 2578 Steuermann, Clara 2531 Stévance, Sophie 1244 Stevens, Denis 65 Stevens, Halsey 821 Stockhausen, Karlheinz 2413 Stoeving, Paul 233 Stojanov, Penco 492 Stolba, K. Marie 770 Stoll, Rolf W. 278 Stoltzfus, Ila Hartzler 466 Stone, Olga 1977 Stonequist, Martha Elisabeth 542 Stover, Edwin L. 1970 Stowell, Robin 2475, 2494 Straeten, Edmund van der 2187 Strasser, Michael 1471 Stratton, George 2465 Straus, Joseph N. 2171 Strauss, E. 613 Streibl, Mirijam Dagmar 1668 Streletski, Gérard 400 Strobel, Heinrich 1601 Struck, Michael 1459, 2243

Indices Strunk, W. Oliver 1585 Stuart, David Henry 1774 Stüber, Jutta 2495 Stucky, Steven 1763 Studeny, Bruno 321 Stupel’, Aleksandr Moiseevich 203 Sturgis-Everett, Barbara Ann 920 Stütz, Gerhart 584 Subirá, José 634, 2735 Subotnick, Morton 1955 Suchoff, Benjamin 824, 870 Suess, John Gunther 1269, 2375 Sullivan, Elizabet Way 484, 2629 Sullivan, M. H. 2684 Sunderman, F. William 2740 Sundet, Jerold A. 149 Sunwoo, Patricia 1715 Suppan, Wolfgang 1, 1733 Sutcliffe, W. Dean 1280, 1536, 1571 Sutter, Milton 2467 Suurpaa, Lauri 1166 Svensson, Sven Erik Emanuel 1511 Sward, Rosalie La Grow 775 Swenson, Milton Allen 595 Swift, Arthur Goodlow 371 Synofzik, Thomas 264 Szabo, Edward Joseph 1034 Szentkirályi, András 877 Szigeti, Joseph 2540 T Tadday, Ulrich 2229 Taktakisvili, Georgij 570 Talbot, Michael 765, 1297, 2378 Talleda, Joseph 2063 Tammaro, Ferruccio 2279 Tan, Ai-Sze 2275 Tan, Christina Cheng-Liang 1048 Tanret. See Heilmair. Tapping, Roger 2496 Tardif, Paul John 1084 Tartakoff, David S. 215 Tatton, Thomas James 447 Taylor, Benedict 958 Taylor, H. 2656 Taylor, Matthew 83 Taylor, Paul Garvin, Jr. 2038 Tchernowitz-Neustadtl, Miriam 1116 Tenney, Wallace R. 2700 Tennyson, Robert Scott 310 Teplitskaia, V.M. 2706 Teplow, Deborah A. 2566 Tepping, Susan E. 730, 1554 Ter-Simonyan, Margarita 474 Tertis, Lionel 2514 Tesch, Catherine Kay Schulze 2044 Thalheimer, P. 1318 Theodore, Peter C. 340

775 Thieme, Ulrich 2111 Thom, Eitelfriedrich 213 Thomas, Alan Rowland 1637 Thomas, Jennifer 749 Thomas, Orlan Earl 357 Thomason, Leta Nelle 837 Thompson, Philip Niel 2307 Thompson, Randall Scott 1488 Thompson, Robert 519 Thoyer, Lucile 717 Threlfall, Robert 536, 1342 Tierney, Neil 2385 Tilmouth, Michael 1, 208, 2016, 2267 Timlin, Francis Eugene 1639 Tingaud, Jean-Luc 2681 Tinker, C. 1630 Tischler, Alice 1685 Titus, Robert Austin 330 Tobin, Shannon 2028 Todd, Donald Clarke 2523 Todd, Ralph Larry 215, 1805 Toenes, George 1056 Toenes, George 2701, 2721, 2728 Tomes, Susan 2729 Torchia, Antonio 11 Torrefranca, Fausto 248, 249 Tovey, Donald Francis 206, 995, 1353 Townsend, George David 1621 Traficante, Frank 519 Traimer, Roswitha 832 Tranchefort, François-René 30 Trenner, Franz 610 Trimmer, Maud Alice 1558 Trimpert, Dieter Lutz 1242 Truscott, Harold 957, 1984, 2198, 2205 Trutzschler, Heinz 2032 Tsang, Tak-Chee 781 Tsareva, Ekaterina 626 Tsibiu, G. 2610 Tubergen, David Gene 1405 Tucker, Wallace E. 381 Tunnell, Michael Hilton 386 Tuozzolo, James Michael 387 Türcke, Berthold 2459 Turner, R. J. 2521 Turnovsky, Fred 607 Tuthill, Burnet Corwin 367, 664 Tyra, Thomas Norman 2360 Tyrrell, John 1 Tyska, Theodore Charles 339 Tyson, Alan 261, 938, 961, 1062, 351, 1578 U Ullom, Jack Ralph 1786 Ulrich, Homer 189 Ulrichs, Friedrich W. 1177 Ulsamer, Josef 2802 Underwood, Troy Jervis 1945

776

Chamber Music: A Research and Information Guide

Untersteiner, Alfredo 601 Unverricht, Hubert 201, 439, 440, 580, 1349, 1350, 1588, 1591, 1628, 2438, 2440 Urbinato, Joseph Mario 1089 Uscher, Nancy Joyce 2564 Uspenskij, Vladislav 654 V Vaillancourt, Michael Grant 476 Valasek, Marion Louise 2585 Valentin, Erich 711 Valenziano, Nicholas, J. 151 Valetta, Ippolito 901 Van Ess, Donald Harrison 372 Van Malderen, Anne 2748 Van Norman, Clarendon Ess, Jr. 380 Vander Weg, John Dean 2396 Vastano, R. G., Jr. 1654 Veksler, Julija 2138 Vertrees, Julie Anne 1889, 2567 Vester, Frans 139 Vetter, Manfred 590 Vetter, Oskar 712 Vetter, Sophie-Mayuko 2213 Vetter, Walter 933 Viana, F. H. 1482 Viano, Richard J. 557, 1209 Vidal, Antoine 70 Vikárius, László 845 Villarrubia, Charles 2792 Vinton, John 869 Vitali, Carlo 1297 Vitercik, Gregory John 1001, 1810 Vogel, Jaroslav 1661 Vogel, Johann Peter 1982 Vogt, Hans 796 Voicana, Mircea 1389 Vokurka, Klaus Alexander 186 Voss, Egon 1057 Voxman, Himie 75 Vratislavsky, Jan 2667 W Wacker, T. M. 140 Wade, Graham 126 Wagner, Manfred 1144 Wahl, Ralph Victor 395 Wainwright, Jonathan P. 35, 519 Waldecker, Todd 2009 Waldrep, Mark Davis 2006 Walker, B.H. 105 Walker, Gwyneth 1646 Walker, Mark Fesler 831 Walker, Mary Beth 270 Walker, Thomas 1297 Walker-Hill, Helen 171 Wallace, Robin 1003 Wallner, Bo 637, 2064, 2320, 2323

776

Walls, Brian Scott 2755 Waln, George E. 39 Walsh, Stephen 818 Walter, Hans 1719 Walthew, Richard Henry 220 Walton, Chris 2101 Wang, Hsiu-Hui 412 Warburton, Thomas 660 Ward, Martha Kingdon 1932, 1937, 1940 Warner, Robert Austin 1676, 1678 Wason, Robert W. 1790 Waterman,David 2506 Waters, Keith 1632 Watson, J. Arthur 2563, 2793 Wattenbarger, James Albert 1978 Weait, Christopher 144 Weaver, Robert Lamar 871 Weber, Horst 2441 Weber, William 538 Webster, James 240, 241, 242, 261, 1499, 1505, 1506, 1542, 1850 Wechsberg, Joseph 2624 Wedig, Hans Josef 923 Weerts, Richard K. 94 Wegener, Bernd 1429 Wehnert, Martin 447 Weigl, Bruno 128 Weill, Hanna 925 Weinberg, Henry 1779 Weiner, Lowell Barry 99 Weiss, Günther 2720 Weiss, Piero 2219 Weiss, Stefan 858 Weiss-Aigner, Günter 823 Weissmann, John S. 2260 Wellesz, Egon 843, 2102 Wells-Harrison, W. 2211 Wen, Eric 1174 Wendt, Matthias 1466 Werner, Klaus G. 790 Wesolowski, Franciszek 213 Wess, Joan 526 Wessely, Othmar 1066, 1721 Wessem, Constant van 604 West, Charles Wayne 74 Westrup, Jack A. 2180, 2249 Westwood, Paul 2094 Wettstein, Hermann 615 Wettstein, Shannon L. 2096 Wetzel, Justus Hermann 1027 Wheeldon, Marianne 1328 Wheelock, Gretchen A. 1545 White, Chappel 622 White, David Ashley 996 White, Joanna M. Cowan 356, 359 White, Kennen Douglas 359 Whiting, Christopher 1694 Whiting, Melinda 2765

Indices Whitman, Ernestine 1329 Whittaker, W. Gillies 1821 Whittall, Arnold 847, 1347, 2103 Whitwell, David 1941 Wienandt, Elwyn A. 526 Wierichs, Alfred 326 Wiersema, Lies 2611 Wiese, Walter 1844 Wiesel, Siegfried 1521 Wiesend, Reinhard 891, 1980 Wigmore, Richard 2608 Wilcke, Gerhard 1812 Wildberger, Jacques 966, 2292 Wilke, Rainer 267 Wilkins, Wayne 72, 120, 123, 142, 154, 155, 158 Williams, Hermine W. 524 Williams, L. Henderson 2356 Williams, Michael D. 124 Williamson, John 336 Willis, James D. 1623 Wilson, Conrad 890, 1141, 1803 Wilson, Eugene Norman 1320 Wilson, Keith 2041 Wilson, Paul Frederick 823, 853, 868 Wingfield, Paul 1673 Winham, Godfrey Charles 2150 Winkel, Erling 506 Winkler, Gerhard E. 2054, 2618 Winkler, Gerhard J. 217, 232, 1548, 1636 Winkler, Heinz-Jürgen 1356, 1611, 2723 Winkler, Klaus 311 Winter, Michael 2348 Winter, Robert 261, 894, 961, 998, 999 Winterhager, Wolfgang 1705 Winther, Rodney 136 Wintle, Christopher 1297, 1301, 2151 Wise, Ronald Eugene 355 Witoszynskyj, Leo 179 Wohlfarth, Hannsdieter 795 Wolff, Christoph 234, 261, 798, 1193 1916, 2197 Wolff, Helmuth Christian 1599

777 Wölki, Konrad 2568 Wollenberg, Susan 1589 Woltzenlogel, Celso 2695 Wong, Siu-chun Jenny 2382 Wood, Hugh 1220, 2060 Wörner, Felix 2086 Wörner, Karl H. 1624 Worster, Larry 1376 Wotquenne, Alfred 230 Wright, Ben Ernest 1998 Wright, Peter 2349 Würtz, Roland 214 Wyatt, Theo. 2457 Y Yang, Benjamin Hoe 1162 Yarrow, Anne 1474 Yih, Annie Ka-Po 1324 Young, David 1516 Yudkin, Jeremy 929 Z Zagorski, William 2641 Zahn, Robert von 264 Zaidel-Rudolph, Jeanne 1701 Zaimont, Judith L. 2776 Zanetti, Emilia 1297 Zaslaw, Neal Alexander 1739, 1743 Zaunschirm, Franz 1184 Zehetmair, Helmut 1594 Zelenka, Rudolf 213 Zeller, Gary Lee 2425 Zenck, Martin 278, 2498 Zeyringer, Franz 126 Zhou, Weijuan 2125, Zimmerman, Franklin B. 535 Zimmerschied, Dieter 1635 Zingler, Ute 293 Zink, Gary Don 1088 Zorn, Jay Daniel 2784 Zsako, Julius 1995 Zuckerman, Mark Alan 776, 777 Zwiener, Ulrich 1667

Chamber Music Ensembles Index For a catalogue of all known string quartet ensembles from 1766 to 2006, see 79. A Abel-Steinberg-Winant Trio. 2685 Academy String Quartet. 494 Aeolian Quartet. 684 Alban Berg String Quartet. 684 Albrecht. 626 Allegri String Quartet, 2616 Alma Trio. 2756 Amadeus Quartet. 2617, 684, 2709 Amar String Quartet. 848, 1612, 1614, 1982, 2618, 2714 American Arts Quartet. 2758 American Brass Quintet, 684 American Saxophone Quartette, 358 American String Quartet. 2609, 684 Arbos Quartet. 2746 Arcado String Trio. 2686 Arditti String Quartet. 2525, 2599, 684, 2699 Artis String Quartet. 684 Arvinrent String Quartet. 2605 Australia Ensemble, 684 B Bach-Abel Concerts, 684 Baillot String Quartet. 2605 Barrere Ensemble. 664 Bartók String Quartet. 684 Bartók Vonosnegyes. 2619 Barylli Quartet, 677 Beaux Arts Trio. 684, 2683–84 Beethoven Quartet Society. 535, 2702 Beethoven Quartet. 2620, 684 Belgrade Quartet. 2767 Bennewitz Quartet, 504 Berkshire Quartet ( = Kortschak Quartet of Chicago), 664 Boehm Quartet. 977, 978 Bohemian Quartet, 698, 2630 Borodin String Quartet. 2609, 2621, 684, 2706 Borromeo String Quartet. 2716 Boston Quintet. 494 Bozzini Quartet. 2348, 2599 Brandis String Quartet. 684 Brass-Quintet Bolshogo Teatra. 2698 Breslauer Quartet Society. 580

778

Brodsky Quartet. 1009, 684. 2622 Budapest String Quartet. 684, 2623–24, 2723 Busch Chamber Players, 684 Busch String Quartet. 684 Busch-Grümmer Quartet. 1439 Busch-Serkin duo. 2756 C Calvet String Quartet. 684 Capet Quartet. 969, 2605 Carmina String Quartet. 684 Cavani String Quartet. 2626 Cherniavsky Trio. 2682 Chevillard-Alard String Quartet. 2605 Chicago Quartet, 664 Chilingirian String Quartet. 684 Cleveland String Quartet. 684, 2627 Composers String Quartet. 684 Concord String Quartet. 684 Contemporary Chamber Ensemble of New York, 684 Contemporary Chamber Players. 2688 Coolidge String Quartet. 2705, 2749 Cortot-Thibaud-Casals. 2681 Cuarteto de Cuerdas. 2756 Curtis String Quartet. 684, 2746 Czech Society for Chamber Music 504 Czech String Quartet. 484, 504, 684, 2628–30 D Danreuther Quartet. 664, 698 DaPonte String Quartet. 2132 Diller’s Classical Cornet Quartet. 2694 Distin Sax-Horn Quintet. 2691 Dorian Woodwind Quintet. 2556, 684 E Elshuco Trio, 664 Emerson Quartet. 684 2294, 2609, 2631–33 Endellion String Quartet. 2506, 684 Esterházy Quartet. 2611 F Festetics String Quartet. 684 Fine Arts String Quartet. 684, 2718

Indices Flonzaley Quartet. 494, 664, 665, 698, 2121, 2128, 2332, 2515, 2634–37, 2663, 684, 2756 Florentine Quartet. 1160, 2629 G German String Trio. 684 Gordon Quartet of Chicago. 664 Griller String Quartet. 277. 2713, 684, 2756 Guarneri String Quartet. 684 2499, 2609, 2730, 2638–44 Guarneri Trio Prague. 504 Guilet Quartet. 2756 H Hagen String Quartet. 684 Hambourg Concert Society Trio. 494 Havlák Quartet. 2645 Heckmann Quartet. 1009 Hellmesberger String Quartet. 483, 684, 2605, 2645 Hollywood String Quartet. 684 Hungarian String Quartet. 684, 2605, 2719, 2723, 2756 I Isolde Menges String Quartet. 1138 Israel Piano Trio. 684 Israel String Quartet. 684 Italian String Quartet. See Quartetto Italiano J Janácˇ ek Quartet. 504, 684, 2606, 2756 Jansa String Quartet. 483, 2605 Joachim Quartets. 684, 698, 901, 1009, 2601, 2602, 2605, 2645, 2715, 2742 Joseph Mayseder. 977, 978 Juilliard Quartet. 684 1256, 2520, 2525, 2609, 2646–50 K Kairos Quartets. 2599 Kaprálová Quartet 504 Kneisel Quartet. 494, 664, 665, 684, 698, 2634, 2663, 2746 Kocian String Quartet. 684 Koella String Quartet. 2605 Kolisch String Quartet. 273, 2107, 2108, 2531, 2651–53 Komitas Quartet. 2654–55 Kronos Quartet. 684, 1684, 2079, 2599, 2656–57 L Lafayette String Quartet. 684, 2658 LaSalle String Quartet. 684 Leblanc Fine Arts Saxophone Quartet. 2693 Leipzig String Quartets. 2599 Léner Quartet. 1009, 2659, 2756, 684

779 Lenox Quartet. 1387 Leopold Auer String Quartet. 262 Lesenka String Quartet. 2660 Lindsay String Quartet. 684, 2325 Lithuanian String Quartet. 2661–62 Loewenguth String Quartet., 677, 2717 London Quartett Society. 969 London String Quartet. 2663, 2756, 684 Longy Club, 664 M Manchester String Quartet. 2492 Mandelring String Quartets. 2609 Manhattan Quartet. 2746 Manhattan String Quartet. 684, 2532, 2609, 2664–65, 2731 Marcel Mule Quartet. 358 Margulies Trio, 664 Marianne Kneisel Quartet, 664 Mason-Thomas Quintet. 664, 698 Medici String Quartet. 684, 2724 Melos String Quartet. 684 Mendelssohn Quintet Club of Boston. 664, 698 Mendelssohn String Quartet. 2609, 2666 Modern String Quartet. 2599 Molinari Quartet. 2080 Moravian String Quartet. 684, 2667 Mosaiques String Quartet. 684 Müller Brothers String Quartets. 483, 2605, 2668 Musica Aeterna. 2669 Musical Art Quartet, 664 Musican Union. 535 Musicians Guild. 2687 N Nash Ensemble, 684 Netherlands Wind Ensemble, 684 New Budapest String Quartet. 2625 New Vlach Quartet, 504 New York Chamber Music Society. 664 New York Saxophone Quartette Club. 358 New York String Quartet, 664 New York Woodwind Quintet. 2553 New Zealand String Quartet. 608 New-Music Quartet, 677 O Oberlin Woodwind Quintet. 746 Olive Meade Quartet 664 Ondricek String Quartet. 684 Orford String Quartet. 684 Orion String Quartet. 2609 Orpheus String Quartet. 684 P Paganini String Quartet. 684 Panocha String Quartet. 684

780

Chamber Music: A Research and Information Guide

Parrenin Quartet. 677, 684 Parrenin String Quartet Pasqual Quartet. 677 Pavel Haas Quartet, 504 Penderecki String Quartet. 2781 Petersen String Quartet. 267, 684 Petri Quartet. 2742 Pittsburgh New Music Ensemble. 2689 Podwesky Quartet. 584 Prague Stringing Quartet, 504. 684 Praz.ak Quartet. 504 Prazak String Quartet. 684 Pro Arte Quartet. 684, 2652, 2671, 2746 Prokofiev Quartet. 2672 Providence String Quartet. 2790 Q Quartet Smyczkowy Stanislava Barcewicza. 615 Quartetto Italiano. 677, 2493, 2605, 2653, 2673, 2710 Quatuor Bozzini. See Bozzini Quartet. Quatuor Millout.969 Quatuor Schwaederl. 969 R Raschèr Saxophone Quartet. 2692 Rosé String Quartet. 502, 684, 2605, 2629, 2725 Roth Quartet. 2756 S S kampa Quartet, 504 Salomon String Quartet. 684 Schuppanzigh Quartet. 914, 953, 977, 978, 988, 2605, 2727 Sestetto Chigiano, 684 Sevcˇ ik String Quartet. 684 Shostakovich String Quartet. 684 Sittig Trio, 664 Skampa String Quartet. 684 Smetana String Quartet. 504, 684, 2606, 2653 Smetana Trio. 504 Sociedad de Cuartetos de La Habana. 2756 Società del Quartetto (Milan). 2770 Soldat-Roeger String Quartet. 2601 St. Petersburg String Quartet. 698, 2609 Stamicˇ String Quartet. 504, 684 Stanley Quartet. 1256 Stradivari Quartet. 2674 Suk Trio, 504

T Takács Quartet. 684, 2496 Talich String Quartet. 504, 684 Taneyev String Quartet. 684 Tchurlionis String Quartet. 2675 Tel-Aviv String Quartet. 684 Terpsycorde String Quartet. 2677 The Adelaide String Quartet Club. 2615 The Netherlands String Quartet. 2611 Theodor Thomas Quartet of New York. 969 Tilmant String Quartet. 2605 Tokyo String Quartet. 684, 2609, 2678 Tollefsen Trio, 664 Toronto String Quartet. 494, 495 Trio Wirtuozów Polskich. 615 Turtle Island String Quartet. 2560 U University of Arizona Woodwind Quintet. 2696 University of Wisconsin-Milwaukee Woodwind Art Quintet. 2697 V Végh String Quartet. 684 Verdehr Trio. 684 Vermeer String Quartet. 684 Vienna Konzerthaus String Quartet. 684 Vienna Octet. 2756 Villa-Lobos Wind Quintet. 2695 Vilnius String Quartet. 2661, 2676 Vlach String Quartet. 504, 684, 2606 W Walden String Quartet. 684 Wihan String Quartet, 504, 684 Wind Instrument Chamber Musical Society. 2690 Wonder Saxophone Quartette. 358 Y Ying String Quartet. 2560, 2679–80 Ysaye String Quartet. 1325, 684 Z Zahn Quartet Society. 580 Zemansky Quartet. 504 Zoellner Quartet of Los Angeles, 664