Yang, Hokyung. "Twelve Variations on Paganini's 24th Caprice: An Analysis." DMA diss., University of Washington, 1994.
Paganini's Caprice, Op. 1, No. 24, has inspired numerous variations, and the popularity of Paganini's theme as the basis of variations should not merely be seen as a competitive effort among composers, but a tribute to the quality of the original theme. In particular, this can be seen through composers' varied approaches to texture, rhythm, meter, modulation, and harmony.
Works: Lutosławski: Variations on a Theme of Paganini (15-16, 32, 35-38, 70, 80); Rachmaninoff: Rhapsody on a Theme by Paganini, Op. 43 (17-18, 31, 33,39-48, 70, 77, 83); Boris Blacher: Orchestervariationen über ein Thema von N. Paganini (20, 32-33, 48-51, 53, 74-75, 77-78, 80); Nathan Milstein: Paganiniana (21, 30, 33, 52-55, 65, 83); Eugène Ysaÿe: Paganini Variations, Op. post. (23, 32-33, 59-62, 70-71, 77, 84); David Baker: Ethnic Variations on a Theme of Paganini (23-25, 59, 64-65, 77, 80, 82); Bronslaw Przybylski: Variazioni sopra un tema di Paganini (25, 31, 33, 59, 62-63, 74-75, 77, 80-82); Gregor Piatigorsky: Variations on a Paganini Theme (26, 32-33, 56-57, 65, 70-72, 77, 83); Hans Bottermund: Variations on a Theme of Paganini (27, 30, 56, 58-59, 74, 85); Bryan Hesford: Variation on a Theme of Paganini, Op. 68 (28, 30, 32, 65, 67-68, 72-73, 77); Kenneth Wilson: Variations on a Theme of Paganini for Four B flat Clarinets (28-29, 33, 35, 65-67, 72-73, 85); Keith Cole: Excursions: Variations on a Theme of Paganini (29, 32, 33, 65-66, 74, 77).
Sources: 24 Caprices, Op. 1 (1, 12-13, 30-31, 33, 39-40, 43-49, 56-57, 59, 63, 65, 70, 77, 80, 83, 85); Sequence Dies Irae (39-40, 43, 46-48). (VEW)
Index classifications: 1900s
Yasser, Joseph. "Dies Irae: The Famous Medieval Chant." Musical Courier (6 October 1927): 6, 39.
One main reason for the Dies Irae sequence's acquired fame as a leitmotif of death is its "catchy" and easily recognizable melody. Brief discussions of works using the chant note the setting and models. The polyphonic treatment illustrated by Asola and Pitoni's Requiems is traced in Liszt's Totentanz. The dance-like rhythmic treatment in Berlioz's Symphonie fantastique is applied by Saint-Saëns in his Danse Macabre. Tchaikovsky, the first Russian composer to use the Dies Irae, uses a contrapuntal device, applied before in Totentanz and later in Rachmaninoff's Toteninsel. Other works mentioned are Glazunov's Moyen Age, Miaskovsky's Sixth Symphony, Schelling's Impressions from an Artist's Life, Loeffler's Ode for One Who Fell in Battle, and Simond's unpublished Elaboration for organ.
Works: Asola: Requiem (6); Berlioz: Symphonie fantastique (6); Glazunov: Moyen Age, Op. 79 (6); Liszt: Totentanz (6); Loeffler: Ode for One Who Fell in Battle (39); Miaskovsky: Symphony No. 6 (6); Pitoni: Requiem (6); Rachmaninoff: Toteninsel (6); Saint-Saëns: Danse Macabre (6); Schelling: Impressions from an Artist's Life (39); Simonds: Elaboration of Dies Irae for Organ (unpublished) (39); Tchaikovsky Modern Greek Song, Op. 16, No. 6 (In Dark Hell). (JP)
Index classifications: 1500s, 1700s, 1800s, 1900s
Yasser, Joseph. "The Opening Theme of Rachmaninoff's Third Piano Concerto and Its Liturgical Prototype." The Musical Quarterly 55 (July 1969): 313-28.
This article explores the dynamics of unconscious quotation. The main theme of Rachmaninoff's Third Piano Concerto is based upon a chant of the Russian Orthodox church. Rachmaninoff probably heard the chant during a visit to the Kievan-Petchersk Lavra in 1893. The concerto was composed in 1909. Thus it took some sixteen years for the tune to be unconsciously regenerated as the theme for his concerto. Of special interest is Rachmaninoff's reply to a letter sent to him by Yasser which demonstrates that Rachmaninoff was not conscious of the relationship between his theme and the chant. Rachmaninoff did, however, acknowledge the influence of liturgical and folk music on his music. (DCB)
Index classifications: 1900s
Yellin, Victor Fell. Review of first recording of Charles Ives, The Celestial Country. The Musical Quarterly 60 (July 1974): 500-8.
Harold Farberman's production of The Celestial Country permits objective comparisons between Ives and Horatio Parker. The adversarial relationship between them has probably been exaggerated. In this work, Ives emulated and borrowed from his teacher's oratorio, Hora novissima, in part because Parker was a paragon of musical success. Ascribing realistic motivations to Ives enlarges the stature of his later achievements, rather than diminishing them. At the same time it helps to restore the damaged reputation of Parker. (DB)
Index classifications: 1800s
Youens, Susan. "Metamorphoses of a Melody: Schubert's Wiegenlied, D. 498, in Twentieth-Century Opera." The Opera Quarterly 2, no.2 (Summer 1984): 35-48.
Schubert's Wiegenlied in A-flat major, D. 498, set to an anonymous poem, became the musical material for borrowing in two twentieth-century operas: "Töne, töne, süsse Stimme" in Richard Strauss's Ariadne auf Naxos, op. 60, and "Gently, little boat, across the ocean float" in Igor Stravinsky's The Rake's Progress. Both Strauss and Stravinsky quoted the first measure of Schubert's lullaby. The quotation can be seen as a "double reminiscence": three lullabies and two mythological operas. The borrowings include musical, poetic, and dramatic elements. The anonymous poem of Schubert's Wiegenlied implies that the child is perhaps dead, but his mother's love remains with him and protects him even after death; and he will receive a rose when he "wakes." This theme has close association with the texts of Strauss's and Stravinsky's lullabies, as both deal with death, transformation, immortality and the love of a woman who embodies utmost fidelity. Strauss not only borrowed the melody from Schubert, he also borrowed the Schubertian harmonic style. Stravinsky's borrowing is more remote. Neither Strauss nor Stravinsky ever mentioned these borrowings.
Works: Strauss: Ariadne auf Naxos, "Töne, töne, süsse Stimme" (35-41); Stravinsky: The Rake's Progress, "Gently, little boat, across the ocean float" (41-47).
Sources: Schubert: Wiegenlied in A-flat Major, D. 498 (35-47). (TC)
Index classifications: 1900s
Youens, Susan. "Schubert, Mahler and the Weight of the Past: Lieder eines fahrenden Gesellen and Winterreise." Music and Letters 67 (July 1986): 256-68.
Mahler's first song-cycle shows strong connections with Schubert's last, notably in the texts. Mahler composed three of the four texts himself, and apparently emulated Müller directly, more so than simply picking up on general tendencies in German romantic lyric poetry. In approaching the composition of his texts, and these early songs, Mahler exhibited a latent historicism, which he may have been reluctant to admit in order to avoid comparisons to the past.
Works: Mahler: Lieder eines fahrenden Gesellen. (JAJ)
Index classifications: 1800s
Young, Percy M. "Works Based in the Theme BACH." Appendix 2 in The Bachs: 1500-1850. London: J. M. Dent & Sons Ltd., 1970.
An appendix of 21 works based on B-A-C-H.
Works: Albrechtsberger: Fugue for Organ; J. C. Bach: Fugue für das Pianoforte oder die Orgel komponiert von Christian Bach uber die Buchstaben seines Namens; J. S. Bach: Contrapunctus XI and XIX from Die Kunst der Fuge; Fantasy and Fugue (formerly attributed to J. S. Bach [??]); Berblan: Chaconne on Bach, Op. 10; Beethoven: Sketches for an Overture on BACH; Bellermann: Prelude and Fugue on BACH for Organ, Op. 8; Bräutigam: Johann Sebastian Bach; Casella: Two Ricercari on the Name BACH, Op. 46; Eisler: Prelude and Fugue on BACH (study on a twelve-tone row), Op. 46; D'Indy: "Beuron," No. 11 from Tableaux de voyage, Op. 33; Karg-Elert: "Basso Ostinato" from Madrigale, 10 schlichte Weisen, Passacaglia and Fugue on BACH, Op. 150; Krebs: Fugue on BACH for Organ; Liszt: Phantasy and Fugue on BACH for Organ; Pepping: Three Fugues on BACH for Piano; Reger: Phantasy and Fugue for Organ on BACH, Op. 46; Rimsky-Korsakov: Fugue, Op. 17, No. 6; Schumann: Six Fugues on the Name BACH for Organ or Piano with Pedal; Sorge: Three Fugues; Wellesz: Partita in honorem J.S. Bach 1965. (JP)
Index classifications: 1700s, 1800s, 1900s
Yu, Siu-wah. "Two Practices Confused in One Composition: Tan Dun's 'Symphony 1997: Heaven, Earth, Man.'" In Locating East Asia in Western Art Music, ed. Yayoi Uno Everett and Frederick Lau. Middletown, Conn.: Wesleyan University Press, 2004.
Index classifications: 1900s
Yudkin, Jeremy. "Beethoven's Mozart Quartet." Journal of the American Musicological Society 45 (Spring 1992): 30-74.
Beethoven's String Quartet in A major Op. 18, No. 5 is clearly indebted to Mozart's String Quartet K. 464 in the same tonality, and Mozart's quartet was an homage to Haydn. The parallels between the two later works are examined using Harold Bloom's theory of the anxiety of influence. Beethoven's imitation can be explained as a desire to learn from Mozart, as motivated by feelings of rivalry, and also as an act of homage to him. The differences between some sections can be seen as an attempt to "misinterpret" the original in order to surpass it. In the String Quartet in A minor Op. 132, which is a much later re-use of Mozart's music, Beethoven achieves the effect of complete sublimation of the precursor, capturing its essence so completely that it seems that the latecomer is being imitated by his ancestor.
Works: Beethoven: String Quartet in A Major, Op. 18, No. 5 (30-71); String Quartet in A Minor, Op. 132 (71-72).
Sources: Mozart, String Quartet in A Major, K. 464. (LFL)
Index classifications: 1800s
Zacher, Gerd. "Materialsammlung. Zu Dieter Schnebels Choralvorspielen." In Dieter Schnebel. Musik-Konzepte, ed. Heinz-Klaus Metzger and Rainer Riehn, no. 16, 12-22. Munich: Edition Text + Kritik, 1980.
Index classifications: 1900s
Zak III, Albin J. "Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation 'All along the Watchtower.'" Journal of the American Musicological Society 57 (Fall 2004): 599-644.
Jimi Hendrix's recording of Bob Dylan's All along the Watchtower transforms Dylan's reserved and detached delivery into a dramatic and spectacular performance driven by intensification of Dylan's melodies and by a greater focus on unified structure that emphasizes the character of the ballad's narrator. Hendrix's version is the product of the peak of studio technology in its time, while Dylan's focuses on a simple capture of the singer's delivery. Both versions, and indeed both singers, are united by blues influences, although Hendrix intensifies Dylan's harmonic content and structure. Hendrix's remake is one sign of the more general affinities that he felt with Dylan over the course of their careers. Together, the two albums demonstrate much of the range of expression covered by rock artists in the late 1960s.
Works: Bob Dylan (songwriter), Jimi Hendrix (performer): All along the Watchtower.
Sources: Bob Dylan (songwriter and performer): All along the Watchtower. (PEK)
Index classifications: 1900s, Popular
Zamzow, Beth Ann. "The Influence of the Liturgy on the Fifteenth-Century English Carols." Ph.D. diss., University of Iowa, 1999.
Index classifications: 1400s
Zanoncelli, Luisa. "Von Byron zu Schumann oder die Metamorphose des Manfred." In Robert Schumann 1. Musik-Konzepte, ed. Heinz-Klaus Metzger and Rainer Riehn, Sonderband 4, 116-47. Munich: Edition Text + Kritik, 1981.
Index classifications: 1800s
Zenck, Claudia. "Technik und Gehalt im Scherzo von Mahlers Zweiter Symphonie." Melos/Neue Zeitschrift für Musik 2 (May/June 1976): 179-84.
Zenck grounds her interpretation of the Scherzo from Mahler's Second Symphony on the content of the borrowed Wunderhorn song "Des Antonio von Padua Fischpredigt" and on an analysis of expressive elements. She divides the movement into four characteristic musical levels: (1) the section based on the Wunderhorn song, in which the constant reiteration of a melodic idea stands for the senseless and mechanical repetition of the same in daily life (mm. 1-189); (2) the stylized development of the previous material, standing for high art (mm. 190-211); (3) the fanfares, a code for "low music" (212-56); and (4) the "trio" representing calm and fulfillment of what the fanfares announced. The way Mahler treats these levels in the course of the movement symbolizes art (music) strongly linked with the repetitive course of the world suppressing simple music and any personal and human sphere. (AG)
Index classifications: 1800s
Zenck, Martin. "Bach, der Progressive: Goldberg-Variationen in der Perspektive von Beethovens Diabelli-Variationen." In J. S. Bach: Goldberg Variations, ed. Heinz Klaus Metzger and Rainer Riehn, 29-92. Munich: 1985.
Index classifications: 1700s, 1800s
Zenck, Martin. "Rezeption von Geschichte in Beethovens Diabelli Variationen: Zur Vermittlung analytischer, ästhetischer und historischer Kategorien." Archiv für Musikwissenschaft 37 (1980): 61-75.
Index classifications: 1800s
Zimmerly, John David. "A Computer-Assisted Study of Selected Kyries From The Parody Masses of Clemens non Papa." M.A. diss., Michigan State University, 1978.
Index classifications: 1500s
Zimmerman, Franklin B. "Handel's Purcellian Borrowings in His Later Operas and Oratorios." In Festschrift for Otto Erich Deutsch, ed. Walter Greenberg, Jan LaRue, and Wolfgang Rehm, 20-30. Kassel: Bärenreiter, 1963.
Evidence suggests that Handel came into contact with Purcell's King Arthur during the period of his greatest struggles as a composer, and thus when he may have been particularly susceptible to borrowing. The period of Handel's heaviest borrowings from Purcell occurs during the 5 years after his return from Aix-la-Chapelle in 1737. Handel may have turned to Purcell's music for assistance in coping with two main problems: the unfamiliar English language, and an unfamiliar and intractable English public. Although there is a lack of solid evidence linking Handel's works directly to Purcell's, there are numerous similarities in melodic and motivic construction as well as in general style that cannot be ignored. An appendix of muiscal examples can be found on 28-30.
Works: Handel: Susanna (22-23), Saul (23), L'Allegro, il Penseroso ed il Moderato (24), Messiah (26), Alexander Balus (27), Belshazzar (26), Joshua.(27). (RVT)
Index classifications: 1700s
Zimmerman, Franklin B. "Händels Parodie-Ouvertüre zu Susanna: Eine neue Ansicht über die Entstehungsfrage." In Händel-Jahrbuch 24 (1978): 19-30.
Handel based the overture to his oratorio Susanna on John Blow's ode Begin the Song for St. Cecilia's Day (1684). Although Handel included most of Blow's composition, he transformed it into a typically Handelian work. In the grave section, Handel changes the subject slightly and the countersubject substantially; however, he reworks the fugal allegro completely, borrowing only the opening motive. He also modernized his model: he simplified themes, thus making them more suited to effective contrapuntal treatment, and introduced polychoral effects, concerto-grosso-techniques, and new ornaments.
Works: Handel: Acis and Galatea (20), Overture to Susanna (20-29), Agrippina (23-24), Messiah (24), Aci, Galatea e Polifemo (24). (AG)
Index classifications: 1700s
Zimmerman, Franklin B. "Musical Borrowings in the English Baroque." The Musical Quarterly 52 (October 1966): 483-95.
Although musical borrowing has become suspect during the past 200 years, it was a commonly accepted aspect of music from the time of Quintilian through the Baroque period. Parody was the most important technique for the use of borrowed material, from both an aesthetic and an historical perspective. Purcell publicly avowed his intention to imitate Italian composers, improving upon his models in most circumstances. Purcell and his contemporaries also used English compositions as models. Handel was extremely prolific in his use of borrowed material and, like Purcell, usually improved upon his models.
Works: Pietro Reggio: Cruda Amarilli (486); Purcell: She loves and she confesses too (487); John Blow: Ah heav'n! What is't I hear (490); William Croft: Thou knowest Lord (491); Handel: "Hallelujah Chorus" from Messiah (495). (FT)
Index classifications: 1600s, 1700s
Zimmerman, Franklin B. "Purcellian Passages in the Compositions of G.F. Handel." In Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, ed. Christopher Hogwood and Richard Luckett, 49-58. Cambridge: Cambridge University Press, 1983.
Four types of borrowings in Handel's music can be identified: (1) overt plagiarisms; (2) re-workings of components of work other than the melody; (3) parodies; and (4) borrowings of scene, mood, atmosphere or affect re-used in a different context. When turning to Purcell for material to borrow and rework, Handel was much more subtle than with other composers, primarily utilizing the last technique. The conspicuous lack of the first three types of borrowings from English composers in Handel's output constitutes strong evidence that Handel was wary of being found out by the London public. He knew that any borrowings from English composers would likely be recognized, and especially those of Purcell.
Works: Handel: Susanna (50), L'Allegro, il Penseroso ed il Moderato (51), O Sing Unto the Lord (52-53), Hercules (54), Judas Maccabeus (54-55), Theodora (55), Alexander Balus (56), Alexander's Feast.(57). (RVT)
Index classifications: 1700s
Zimmermann, Reiner. "Choralvariation und Engführung: Giacomo Meyerbeer verwendet Luthers Choral 'Ein feste Burg.'" In Über Leben, Kunst und Kunstwerke: Aspekte musikalischer Biographie: Johann Sebastian Bach im Zentrum, ed. Christoph Wolff, 293-301. Leipzig: Evangelische Verlagsanstalt, 1999.
Giacomo Meyerbeer sought to study the chorales of J. S. Bach in addition to older secular French chansons. Even with his great success in grand opera, Meyerbeer turned to earlier works in order to complement the historical settings of his pieces by appropriating various types of music that would have been associated with the period. The plot of Les Huguenots concerns St. Bartholomew's night, the 1572 wedding occasion upon which ruling Catholics murdered thousands of Protestant Huguenots. Even though Meyerbeer was aware that the Huguenots might not have sung Luther's tune in their time, he believed the tune evoked religious associations that fit well with the historical plot of his grand opera. To Meyerbeer, the chorale became a symbol of revolution. His innovative use of the tune begins with a theme and shortened variations in the overture, and it functions as an incipit to represent Marcel, a Huguenot hero. The tune transforms to become an emblem of religious heroism and perseverance for the Huguenots by the end of the opera, even as the Catholics defeat them. This reflects a wholly new adaptation not only of Bach, but also of Luther.
Works: Meyerbeer: Les Huguenots (293-301).
Sources: J. S. Bach: Ein feste Burg, BWV 720 (293, 296-301); Luther: Ein feste Burg (294, 296). (KJL)
Index classifications: 1800s
Zobel, Mark Alan. "'Music Close to the Soil and Deeply Felt': The Use of American Hymn Tunes in Charles Ives's Third Symphony." PhD diss., University of Colorado, Boulder, 2005.
Index classifications: 1900s
Zobel, Mark. The Third Symphony of Charles Ives. Hillsdale, N.Y.: Pendragon Press, 2009.
Index classifications: 1900s
Zoder, Raimund. "Haydn-Menuett und ein Steyrischer." Volkslied, Volkstanz, Volksmusik 48 (1947): 28-29.
Index classifications: 1800s
Zohn, Steven, with Ian Payne. "Bach, Telemann, and the Process of Transformative Imitation in BWV 1056/2 (156/1)." The Journal of Musicology 17 (Fall 1999): 546-84.
Bach's harpsichord concerto BWV 1056 has long been recognized as a borrowed work. The origins of the second movement have falsely been attributed to a number of Bach's earlier works, however. A closer match can be found between this movement and the first movement of Telemann's concerto in G Major. Manuscript evidence analyzed in context of Telemann's early concertos supports it being composed before Bach's concerto. This example is a break in Bach's normal concerto borrowings. Telemann's style of concerto writing is preserved, thereby changing Bach's style. Bach improves the contour of Telemann's melody to make it more dramatic. The technique of borrowing through transformative imitation fits the writings on musical rhetoric in the early eighteenth century. This is one of the only instances of a borrowing from concertos by his German contemporaries and shows a greater relationship between Bach and Telemann than has previously been assumed. Both works are also used in self-borrowings. Some of the material in the Telemann concerto is used in his solo for flute. Bach's harpsichord concerto movement also served as the basis for his Cantata No. 38, BWV 156. This could be a sign of Bach thinking of his concerto slow movement as an aria form.
Works: J. S. Bach: Concerto for Harpsichord in F Minor, BWV 1056 (546-51, 556-61, 571, 574, 580-84), Cantata No. 38, BWV 156 (551-53); Telemann: Solo in G Major, TWV 49: G9 (557-58).
Sources: J. S. Bach: Concerto for Violin in G Minor [lost] (546), Concerto for Harpsichord in F Minor, BWV 1056 (551); Telemann: Concerto for Flute or Oboe in G Major, TWV 51:G2 (547-51, 554-67, 580). (DRN)
Index classifications: 1700s
Zohn, Steven. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works. New York: Oxford University Press, 2008.
Index classifications: 1700s
Zon, Bennett. "Mahler's Liszt and the Hermeneutics of Chant." Studia musicological Academiae Scientiarum Hungaricae 46 (2005): 383-402.
Index classifications: 1800s, 1900s
Zoor, William. "Correspondence." Gramophone 61 (October 1983): 416.
The reason why Mozart's "Notte e giorno faticar" is quoted in Beethoven's Diabelli Variations can be found in Czerny's Memoires. Apparently Diabelli was constantly pressing Beethoven to complete this work. On one particular occasion, Diabelli visited Beethoven after he had just completed Variation 21. As a humorous comment on being harangued by Diabelli, Beethoven consequently composed Variation 22 with quotations from Mozart's "Notte e giorno faticar" and a waltz tune titled Keine Ruh bei Tag und Nacht. (LAR)
Index classifications: 1800s
Zuck, Barbara A. A History of Musical Americanism. Ann Arbor: UMI Research Press, 1980.
Two types of musical Americanism can be identified: conceptual Americanism, or the active commitment to American musical culture; and compositional Americanism, which is the borrowing of native musical materials for concert music. The history of compositional Americanism begins with Anthony Philip Heinrich (1781-1861), reaching its peak during the Depression era with Aaron Copland, Roy Harris, and William Schuman, among others. Aesthetic issues and historical contexts motivating the use of American folksong in art music include the influence of Gebrauchsmusik (Chap. 4), Marxism and leftist politics among American artists (Chap. 5), the growing scholarly interest in American folksong (Chap. 6), the support of the Works Progress Administration (Chap. 7), and the rise of patriotism associated with World War II (Chap. 8). References to pieces that borrow and their specific tunes can be found throughout the book. Musical borrowings are discussed in more detail for Marc Blitzstein's The Cradle Will Rock (1937), Roy Harris's Third Symphony (1939), and Aaron Copland's Appalachian Spring (1943-44).
Works: Anthony Philip Heinrich: Pushmatka: A Venerable Chief of a Western Tribe of Indians (28-29), The Hickory, or Last Ideas in America (29); George Frederick Bristow: The Pioneer ("Arcadian"), Op. 49 (32): Louis Moreau Gottschalk: The Union (39), Le Banjo (39), The Last Hope (39), La Bamboula (39); Edward MacDowell: Second (Indian) Suite (59-60); Daniel Gregory Mason: String Quartet on Negro Themes (70); Henry Gilbert: Comedy Overture on Negro Themes (75, 77), Negro Rhapsody 'Shout' (77), The Dance in Place Congo (77-78); William Grant Still: La Guiblesse (97); Virgil Thomson: The Plow That Broke the Plains (100, 149, 263), The River (100, 147-48, 263), Symphony on a Hymn Tune (148, 263); Red Marching Song (125); Soup Song (125); Join the C.I.O. (141); Elie Siegmeister: Western Suite (145, 150), Eight American Folk Songs (150); Henry Cowell: Tales of Our Countryside (146); Sing Out Sweet Land! (musical) (147); Roy Harris: Folksong Symphony (147, 150), When Johnny Comes Marching Home (150), Kentucky Spring (150), March in Time of War (195), American Portrait (224); Douglas Moore: Pageant of P. T. Barnum (148), Overture on an American Tune (148); John Powell: Natchez on the Hill (148), A Set of Three (148); Aaron Copland: John Henry (149), Billy the Kid (149), Rodeo (149), Old American Songs, Sets I and II (150, 271), Lincoln Portrait (150, 191-92), Second Hurricane (264-65), El Salón México (265), Dance Symphony (265), Hear Ye! Hear Ye! (265-66), Appalachian Spring (268-70), The Tender Land (271); Jerome Moross: A Ramble on a Hobo Tune (149); Ruth Crawford Seeger: Rissolty, Rossolty (149); Morton Gould: Cowboy Rhapsody (150), American Salute (150, 188), Yankee Doodle (150), Foster Gallery (150); Ross Lee Finney: Oh Bury Me Not on the Lone Prairie (150), Trail to Mexico (150); Paul Bowles: 12 American Folk Songs (150); Bernard Hermann: The Devil and Daniel Webster (film score) (150); Robert Russell Bennett: Early American Ballade (150); William Schuman: William Billings Overture (151), New England Triptych (151), Chester (151); Marc Blitzstein: The Cradle Will Rock (211-12).
Sources: God Save the King (America) (29); Yankee Doodle (29, 150); Ludwig van Beethoven: Ninth Symphony (Finale) (125) Egmont Overture (211); My Bonnie Lies Over the Ocean (125); Lay the Lily Low; Home on the Range (150); I Ride an Old Paint (150); Springfield Mountain (The Pesky Sarpent) (150, 192); Patrick Gilmore: When Johnny Comes Marching Home (150, 224); Stephen Foster: Camptown Races (150, 192), My Old Kentucky Home (150); True Love, Don't Weep (195); The Capture of General Burgoyne (264-65); Aaron Copland: Grohg (265); Felix Mendelssohn: Wedding March from Midsummer Night's Dream (266); John Stafford Smith: Star-Spangled Banner (266); Simple Gifts (258-70). (EB/FC)
Index classifications: 1800s, 1900s
Zychowicz, James L. "The Adagio of Mahler's Ninth Symphony: A Preliminary Report on the Partiturentwurf." Revue Mahler Review 1 (1987): 77-113.
[See pp. 89-90 for references to quotation in this movement. The discussion includes mention of some of Mahler's written comments in the draft score.] (Author)
Index classifications: 1900s
Zychowicz, James L. "Sketches and Drafts of Gustav Mahler 1892-1901: The Sources of the Fourth Symphony." Ph.D. diss., University of Cincinnati, 1988.
[Chapter 3 discusses quotation, and chapters 8 and 9 include descriptions of references to it in the manuscripts: Mahler's explicit written-out reference to quoting "Das himmlische Leben" in the preliminary sketches for the Scherzo, and the citation of the Ewigkeit motive in the short score (Particell) for the third movement.] (Author)
Index classifications: 1900s