Uhde, Jürgen. Beethovens Klaviermusik. Stuttgart: Reclam, 1974.
[See Vol. III, pp. 34-43.]
Index classifications: 1700s, 1800s
Ujfalussy, József. "Kodály and Debussy." The New Hungaria Quarterly 23 (Winter 1982): 46-51.
Kodály acknowledged Hungary's musical debt to Debussy in the obituary he wrote for him in the Nyugat. Kodály paid musical tribute to Debussy in certain of his works by adopting modal melodic structures, harmonic turns, and constructural models of specific works of the Frenchman. The deeper significance of Debussy's influence lay beyond these similarities and extended into the nationalistic stance made possible by the non-Germanic methods of Debussy. He inspired Kodály to search for the form and musical language which could reflect his country's folk and historical traditions as distinct from academic Western art music.
Works: Kodály: Seven Piano Pieces (46), Nausikka (48), String Quartet No. 1 (50). (AW)
Index classifications: 1900s
Vaccaro, Jean Michael. "The Fantasia sopra . . . in the Works of Jean-Paul Paladin." Journal of the Lute Society of America 23 (1990): 18-36.
Scholars have distinguished between two mutually exclusive categories of sixteenth- century instrumental compositions: (1) those that are more or less elaborated versions of vocal models such as masses, motets, madrigals, and chansons and (2) fantasias or ricercares that are independent of vocal models. This distinction is imprecise and misleading because many fantasias and ricercares contain musical material derived from vocal models, usually without attribution. In comparatively rare instances a fantasia or ricercare names the title of its model, such as lute music composer Jean-Paul Paladin's Fantasia sopra Quand'io penso al martir', a fantasia based on Arcadelt's madrigal Quand'io penso al martir', or Paladin's Fantasia sopra Ave sanctissima, based on Sermisy's motet Ave sanctissima. These two works demonstrate the wide variety of compositional techniques used by fantasia composers in their approach to borrowing from vocal models, ranging from brief oblique references to lengthy passages of exact quotation. They also demonstrate that fantasia composers often mixed (apparently) original with borrowed material. It is thus not reasonable to view sixteenth century instrumental music as forming only two categories (derived from vocal music or "free"), because most of it lies somewhere between these two extremes.
Works: Paladin: Fantasia sopra Quand'io penso al martir' (20-29), Fantasia sopra Ave sanctissima (32-35).
Sources: Arcadelt: Quand'io penso al martir' (20-29); Sermisy: Ave sanctissima (32-35). (STG)
Index classifications: 1500s
Van Houten, Theo. "Ave Maria, vaarwel Isolde, vaarwel Louise--Anton Bruckner en de Lifdesdood." Mens en Melodie 31 (October 1976): 300-1.
Bruckner may have had in mind a motive in Wagner's Tristan und Isolde for part of his melody in his song Ave Maria. This article includes musical examples and some historical background. (PRZ)
Index classifications: 1800s
Van Houten, Theodore. Silent Cinema in the Netherlands: The Eyl/Van Houten Collection of Film and Cinema Music in the Nederlands Filmmuseum. Buren, The Netherlands: F. Knuf Pubishers, 1992.
Index classifications: 1900s, Film
Van Houten, Theodore. "'You of All People': Elgar's Enigma." The Music Review 37 (1976): 130-42.
Index classifications: 1800s
Vaughan Williams, Ralph. "Arnold Bax (1883-1953)." In National Music and Other Essays, ed. Michael Kennedy, 243-44. 2nd ed. London and New York: Oxford University Press, 1987.
Bax and Vaughan Williams were friends and supported and helped each other musically. In a conversation about borrowed pieces, Bax is said to have noted that all of Vaughan Williams's "best sellers are not his own." An editor's note points out that Vaughan Williams quoted Bax's Third Symphony in his Piano Concerto.
Works: Vaughan Williams: Fantasia on Christmas Carols (244), Fantasia on a Theme of Thomas Tallis (244), Piano Concerto (244). (RCL)
Index classifications: 1900s
Vaughan Williams, Ralph. "The Evolution of the Folk-song." In National Music and Other Essays, ed. Michael Kennedy, 28-52. 2nd ed. London and New York: Oxford University Press, 1987.
Folk song has evolved as an oral tradition, a tradition known in Vaughan Williams's day to have been remarkably strong and accurate. Elements common or borrowed in folk music have been the norm, because folk music was written not by one composer but by several, and over a considerable period of time. (RCL)
Index classifications: General, 1900s
Vaughan Williams, Ralph. "The Folk-song." In National Music and Other Essays, ed. Michael Kennedy, 21-27. 2nd ed. London and New York: Oxford University Press, 1987.
Some have considered musical borrowing and the "cult of archaism" to be wrong on moral grounds, but this is a protest by the establishment which profits by maintenance of the musical status quo. (RCL)
Index classifications: General, 1900s
Vaughan Williams, Ralph. "The Folk Song Movement." In National Music and Other Essays, ed. Michael Kennedy, 234-36. 2nd ed. London and New York: Oxford University Press, 1987.
The use of folk song by Russian and other nationalist composers is nothing new. The music of the Austro-German tradition is just as similar to Teutonic folk song as that of other traditions is to their folk origins, but because of its dominance of the classical music scene, does not sound folklike to the general audience. (RCL)
Index classifications: General, 1800s, 1900s
Vaughan Williams, Ralph. Preface to Sir John in Love, by Ralph Vaughan Williams. London: Oxford University Press, [1930].
By using borrowed folk tunes in this opera, Vaughan Williams was intending to flatter his colleague Gustav Holst. As was the practice of Holst, the titles of folk songs used are not generally of programmatic significance.
Works: Vaughan Williams: Sir John in Love. (RCL)
Index classifications: 1900s
Vaughan Williams, Ralph. "How Do We Make Music?" In National Music and Other Essays, ed. Michael Kennedy, 215-25. 2nd ed. London and New York: Oxford University Press, 1987.
Among the ways music is made is by the re-use of similar ideas. Three fugue subjects by J. S. Bach, Handel, and Mozart, are each built on the same phrase.
Works: Bach: Fugue No. 20 from the Well-Tempered Clavier, Book II (218); Handel: "And with His Stripes" from Messiah (217); Mozart: "Kyrie" from the Requiem (218). (RCL)
Index classifications: 1700s
Vaughan Williams, Ralph. "The Influence of Folk-song on the Music of the Church." In National Music and Other Essays, ed. Michael Kennedy, 74-82. 2nd ed. London and New York: Oxford University Press, 1987.
The history of church music includes many borrowed folk tunes and contrafactions, from the Tonus peregrinus (foreign tune) of the Roman church to the use of popular tunes as hymns or chorales well past the Reformation.
Works: Tonus peregrinus (Gregorian chant) (76); Valet will ich dir geben (German chorale); O Filii et Filiae (Sequence) (77); Thomas Oliver: Helmsley (hymn tune) (77); Louis Bourgeois: Old Hundredth (hymn tune) (77), Old 113th (hymn tune). (RCL)
Index classifications: General
Vaughan Williams, Ralph. "A Musical Autobiography." In National Music and Other Essays, ed. Michael Kennedy, 177-94. 2nd ed. London and New York: Oxford University Press, 1987.
Vaughan Williams was influenced by a number of composers as mentors and contemporaries, and mentions many of them in this essay. He had no conscience about musical borrowing--which he calls "cribbing"--and engaged in it quite frequently.
Works: Vaughan Williams: A London Symphony (188), "Satan's Dance" from Job (190), Symphony in F Minor, A Sea Symphony (188, 190). (RCL)
Index classifications: 1900s
Vaughan Williams, Ralph. "What is Music?" In National Music and Other Essays, ed. Michael Kennedy, 206-14. 2nd ed. London and New York: Oxford University Press, 1987.
Music has undergone a complex evolution beginning with the inflection patterns of speech. Teschner's chorale Valet will ich is apparently based on the English dance tune Sellinger's Round, and Edmund Gurney rhythmically distorts Ein feste Burg into a jig tune in his The Power of Sound.
Works: Edmund Gurney: The Power of Sound (209); Teschner: Valet will ich (209). (RCL)
Index classifications: 1800s
Velten, Klaus. Schönbergs Instrumentation Bachscher und Brahmsscher Werke als Dokumente seines Traditionsverständnisses. Regensburg: Gustav Bosse, 1976.
Index classifications: 1900s
Vermeulen, Ernst. "Compositions by Louis Andriessen and Peter Schat Incorporating Quotations." Translated by Ian F. Finlay. Sonorum Speculum, no. 35 (Summer 1968): 1-12. In English and German.
A brief survey of the history of borrowing starts from borrowing as an everyday method of composing in the sixteenth century to transcriptions and arrangement of the sixteenth century up to Ives and Stravinsky. Both Ives and Stravinsky are the key composers for the output of Louis Andriessen, the latter for some time, the former for a relatively short time. A discussion of Andriessen's Anachrony I to the memory of Ives and Contra Tempus notes the simultaneous use of different musical languages, orchestral clichés, and hidden quotations and notes Stravinsky's influence in the borrowings from different periods. Despite quotations, Andriessen's works are original, for he orders and processes all the materials in a creative way. A brief discussion of Peter Schat's On Escalation notes the uses of specific quotations, stylistic quotations, and counterfeit stylistic quotations.
Works: Andriessen: Anachrony I (7), Contra Tempus (9); Hindemith: Der Schwanendreher (5); Ives: Concord Sonata (4); Ravel: Bolero (8); Rossini: Le Comte Ory (4), Andremo a Parigi (4); Schat: On Escalation (11). (JP)
Index classifications: 1900s
Viens, Lise. "Stratégies citationelles dans Die Soldaten de Bernd Alois Zimmerman." Canadian University Music Review/Revue de musique des universités canadiennes 17 (1996): 1-19.
Index classifications: 1900s
Vill, Suzanne. Vermittlungsformen verbalisierter und musikalischer Inhalte in der Musik Gustav Mahlers. Tutzing: Hans Schneider, 1979.
Vill's book, originally a Ph.D. dissertation (Frankfurt am Main, 1974), emphasizes the texts of songs and their changes as compared to the original. In a second part the author gives programmatic interpretations of the first four symphonies, in which quotations from folk songs and from Mahler's own songs are of major importance, even if the texts are not quoted with the tunes. The meaning given to these tunes by the original words and various statements by Mahler together with formal procedures--including transformation of the quoted material--allow two kinds of conclusions: either they lead to a concrete interpretation or reflect some of the musical ambiguity.
Works: Mahler: Symphony No. 1, Symphony No. 2, Symphony No. 3, Symphony No. 4. (AG)
Index classifications: 1800s, 1900s
Vinay, Gianfranco. "Charles Ives e i musicisti europei: anticipazioni e dipendenze." Nuova Revista Musicale Italiana 7 (July-December 1973): 417-29.
Index classifications: 1800s, 1900s
Vis, Jurgen. "Debussy and the War--Debussy, Luther, and Jannequin: Remarks on Part II ('Lent. Sombre') of En blanc et en noir." Cahiers Debussy 15 (Summer 1991): 31-50.
Debussy alternates characteristic French and German themes, respectively La Marseillaise and Ein feste Burg, in the middle section of his En blanc et noir. These themes had become symbols of French and German nationalism, and Debussy uses them to portray the grimness of World War I. By using fragments of Martin Luther's chorale as a symbol of German aggression, Debussy subverts Luther's intentions of congregational unity. He disguises Luther's setting through omissions in both the Stollen and the Abgesang sections. Debussy also infuses programmatic features in the work by recalling warlike elements in the music of Clément Janequin's La Guerre, although he does not use quotation in the same manner as Ein feste Burg.
Works: Debussy: En blanc et noir (31-32, 35-42).
Sources: Luther: Ein feste Burg (32-35, 39-41); Rouget de Lisle: La Marseillaise (32, 35-38, 43); Janequin: La Guerre (45-46). (KJL)
Index classifications: 1900s
Voss, Egon. "Bruckners Sinfonien in ihrer Beziehung zur Messe." Schallplatte und Kirche 5 (1969): 103-9.
Understanding Bruckner's directional markings, such as feierlich and misterioso, is the key to interpreting Bruckner's music. It is these markings that form the main connection between his Masses and his symphonies, not quotation. (BJT)
Index classifications: 1800s
Voss, Egon. "Wagner-Zitate in Bruckners Dritte Sinfonie?: Ein Beitrag zum Begriff des Zitats in der Musik." Die Musikforschung 49 (October-December 1996): 483-506.
Index classifications: 1800s
Vretblad, Åke. "Nagot om paroditekniken i 'Sions sånger' (1743-45)." Tidskrift för musikforskning 43 (Studier: tillägnade Carl-Allan Moberg / 5 June 1961): 397-401.
Index classifications: 1700s
Vul'fson, Aleksej. "Principy simfoniceskogo razvitija formoobrazovanija v baletah I. F. Stravinskogo [Principles of the Symphonic Development and Form Building in I. F. Stravinsky's Ballets]." Ph.D. diss., Leningrad Conservatory, 1974.
Index classifications: 1900s