An Index to Music in Selected Historical Anthologies of Western Art Music, Part 1

395 Pages·2018·1.525 MB·English

by  Mara Parker

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Music Library Association Index and Bibliography Series, Volume 40, Part 1 Music Library Association Index and Bibliography Series, Volume 40, Part 1

IB40
Part 1
An Index to Music in Selected Historical Anthologies of Western Art Music A
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An Index to Music in Selected Historical Anthologies of Western Art Music is the essential refer- In
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ence for music history and music theory instructors for finding specific listings and details e
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for all the pieces included in more than 140 anthologies published between 1931 and the t
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2016. Containing over 5,000 individual listings, this concise book is an indispensable tool M
for teaching music history and theory. Since many anthologies exist in multiple editions, u An Index to Music in
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this Index provides instructors, students, and researches with the means to locate specific c
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compositions in both print and online anthologies. This book includes listings by compos- S Historical Anthologies of
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er and title, as well as indexes of authors, titles, and first lines of text for music from antiq-
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uity through the early twenty-first century. c
t Western Art Music
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About the Author H
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Mara Parker is Professor of Musicology and String Performance and Chair of Fine Arts at o
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Widener University (Pennsylvania). She holds degrees from the San Francisco Conservatory c Mara Parker
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of Music, San Francisco State University, and Indiana University; her Ph.D. dissertation from A
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the latter examines chamber music at the Court of Friedrich Wilhelm II, King of Prussia. Her t
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recent publications have focused on the life and works of the Italian cellist and composer, o
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Carlo Graziani, and include both a critical edition of his Opp. 1 and 2, an assessment of his g
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sonatas within the 18th-century cello literature, and an examination of Graziani as repre- e
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A-R Editions, Inc.
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1600 Aspen Commons, Suite 100
Middleton, WI 53562
800-736-0070 (orders)
608-836-9000
http://www.areditions.com
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A-R Editions, Inc.
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AN INDEX TO MUSIC IN SELECTED
HISTORICAL ANTHOLOGIES OF
WESTERN ART MUSIC
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Music Library Association
Index and Bibliography Series
Maristella Feustle, Series Editor
1. An Alphabetical Index to Claudio Monteverdi Tutte 20. 18th-Century American Secular Music Manu scripts:
le Opere, edited by the Bibliography Com mittee of An Inventory, compiled by James J. Fuld and Mary
the New York Chapter, MLA, [1964]. Wallace Davidson (1980).
2. An Alphabetical Index to Hector Berlioz Werke. ed- 21. Popular Secular Music in America through 1800: A
ited by the Bibliography Committee of the New Checklist of Manuscripts in North American Collec-
York Chapter, MLA, [1964]. tions, compiled by Kate Van Winkle Keller (1980).
3. A Checklist of Music Bibliographies and Indexes in 22. Palestrina: An Index to the Casimiri, Kalmus and
Progress and Unpublished, compiled by the MLA Haberl Editions, by Allison Hall (1980).
Publications Committee (Walter Gerboth, chair; 23. E. H. Fellowes: An Index to The English Madrig alists
Shirley Branner; and James B. Coover, 1965); and The English School of Lutenist Song Writers, by
Second edition by James Pruett (1969); Third edi- Allison Hall (1984).
tion by Linda Solow (1974); Fourth edition by Dee 24. Music in New York during the American Revol ution:
Bailey (1982). An Inventory of Musical References in Rivington’s
4. A Concordance of the Thematic Indexes to the Instru- New York Gazette, by Gillian Anders on with edito-
mental Works of Antonio Vivaldi, by Lenore Coral rial assistance of Neil Ratliff (1987).
(1965); Second edition (1972). 25. Analyses of Nineteenth- and Twentieth-Century
5. An Alphabetical Index to Tomás Luis de Victoria Music, 1940–1985, by Arthur B. Wenk (1987).
Opera Omnia, edited by the Bibliography Com - 26. Opera Performances in Video Format: A Checklist of
mittee of the New York Chapter, MLA (1972). Commercially Released Performances, by Charles
6. An Alphabetical Index to Robert Schumann Werke. Croissant (1991).
Schumann Index, Part I, compiled by Michael Ochs 27. A Thematic Catalog of the Works of Robert Valent ine,
(1967). by J. Bradford Young (1994).
7. An Alphabetical Index to the Solo Songs of Robert 28. Pro-Musica: Performance, Patronage, and a
Schumann. Schumann Index, Part 2, compiled by Periodical: An Index to the Quarterlies, by Paula
William J. Weichlein (1967). Elliot (1997).
8. An Index to Maurice Frost’s English & Scottish 29. Musical Memorials for Musicians: A Guide to Selected
Psalm & Hymn Tunes, by Kirby Rogers (1967). Compositions, by R. Michael Fling (2001).
9. Speculum: An Index of Musically Related Articles 30. Music Inspired by Art: A Guide to Recordings, by
and Book Reviews, compiled by Arthur S. Wolff Gary Evans (2002).
(1970); Second edition (1981). 31. An Index to Music Published in The Etude Maga-
10. An Index to Das Chorwerk, Volumes 1–110, com- zine, 1883–1957, by E. Douglas Bomberger (2004).
piled by Michael Ochs (1970). 32. Bibliographic Control of Music, 1897–2000, compiled
11. Bach Aria Index, compiled by Miriam Whaples and edited by Richard P. Smiraglia with J. Bradford
(1971). Young (2006).
12. Annotated Bibliography of Writing about Music in 33. Grawemeyer Award for Music Composition: The First
Puerto Rico, compiled by Annie Figueroa Twenty Years, by Karen R. Little and Julia Graepel
Thompson (1975). (2007).
13. Analyses of Twentieth-Century Music, 1940–1970, 34. Analyses of Nineteenth- and Twentieth-Century
compiled by Arthur Wenk (1975). Music, 1940–2000, by D. J. Hoek (2007).
14. Analyses of Twentieth-Century Music, 1970–1975, 35. The Guitar in American Banjo, Mandolin, and
compiled by Arthur Wenk (1976); Second edition Guitar Periodicals, 1882–1933, by Jeffrey Noonan
(1984). (2009).
15. Analyses of Nineteenth-Century Music, 1940–1975, 36. Douglas Moore: A Bio-Bibliography, by Jerry L.
compiled by Arthur Wenk (1976); Second edition: McBride (2011).
1940–1980 (1984). 37. An Index to Articles Published in The Etude Maga -
16. Writings on Contemporary Music Notation, compiled zine,1883–1957, by Pamela R. Dennis (2011).
by Gerald Warfield (1976). 38. Spirituals: A Multidisciplinary Bibliography for
17. Literature for Voices in Combination with Elect ronic Research and Performance, by Kathleen A. Abromeit
and Tape Music: An Annotated Bibliogra phy, com- (2015).
piled by J. Michele Edwards (1977). 39. Music for Silent Film: A Guide to North American
18. Johannes Brahms: A Guide to His Autographs in Resources,byKendra Preston Leonard (2016).
Facsimile, by Peter Dedel (1978). 40. An Index to Music in Selected Historical Anthologies
19. Source: Music of the Avant Garde: Annotated List of of Western Art Music, by Mara Parker (2019).
Contents and Cumulative Indices, by Michael D.
Williams (1978).
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AN INDEX TO MUSIC IN SELECTED
HISTORICAL ANTHOLOGIES OF
WESTERN ART MUSIC
Part 1
by
Mara Parker
Co-published by
Music Library Association
and
Í
A-R Editions, Inc.
Middleton, Wisconsin
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ISBN 978-0-89579-874-9
A-R Editions, Inc., Middleton, Wisconsin 53562
© 2019 All rights reserved
Printed in the United States of America
1 3 5 7 9 8 6 4 2
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Table of Contents
1. Acknowledgments vii
2. Introduction viii
3. Anthologies: Bibliographic Information xvii
4. Historical Anthologies: A Composer-Composition Index 1
5. Index of Authors and Literary Names 743
6. Index of Excerpt Titles and First Lines of Text 749
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ACKNOWLEDGMENTS
As always, a work such as this cannot be completed without the help of many. I am particu-
larly grateful to Widener University’s library staff for their ceaseless help and patience. Special
thanks go to Denise DeRosa, Fran Cylc, and Linda Verlinghieri who put up with my seemingly
endless interlibrary loan requests and assisted me with locating the specific books I needed,
especially when a single title appeared in multiple editions.
Mara Parker
Chester, PA
March 2017
vi
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INTRODUCTION
An anthology of music is, by necessity, a highly selective collection of compositions. It reflects
the compiler’s assessment and determination of a composition’s importance, the realities of
copyright restriction, ease or difficulty of access, and spatial and financial constraints. For the
student, teacher, or scholar of music, this can pose a problem as any given anthology, while use-
ful, may not include all the works needed for a specific class, project, or study. Finding the nec-
essary works can be difficult as there is a myriad of anthologies in existence, some in multiple
editions. Thus, an index that provides the student, researcher, or teacher with the means to
locate a specific composition within an historical anthology is of vital importance.
This volume takes as its starting point Sterling Murray’s Anthologies of Music: An Anno tated
Index, 2nd edition (Warren, Mich.: Harmonie Park Press, 1992). Murray’s text, which indexes
over fifty anthologies published between the years 1942−1991, is particularly useful as it con-
tains entry and page numbers for each composition as well as other information such as score
format, the presence of explanatory notes, the inclusion of text translations, and the like. The
impressive number of new and revised anthologies published since 1991 indicates that a new
and updated index of musical anthologies is needed; hence, the purpose of this volume. As with
Murray’s work, this text is not intended as a comprehensive listing of all published music.
Neither is it a replacement for either Anna Harriet Heyer’s Historical Sets, Collected Editions,
and Monuments in Musicor George R. Hill and Norris L. Stephens’s Collected Editions: Histori -
cal Series and Sets of Monuments of Music. Nor is it part of a cataloging system associated with
any of the anthologies indexed nor arranged in concurrence with the publications surveyed.
Rather, it is a practical “locator” reference, aiding students and researchers alike in finding
scores in readily accessible sources, particularly those works not part of historical series and
monument sets.
This index informs the user where to find a particular score and what to expect from that par-
ticular anthology (i.e., full score versus reduced score, figured bass versus realized figured bass,
and the like). It provides the reader with the information needed to make an informed decision
about which reference to consult. For this reason, individual entries are not supplemented with
additional information (literary names, composition date, publication information, etc.); to do
so would present an inaccurate picture of what one could expect to find in a specific anthology.
This volume may be used in a number of ways. If the composer’s name and composition title
are known, one should first locate the composer in the index and then find the title of the work.
The entry will be numbered and in boldface. The reader will see one or more listings, each iden-
tifying an anthology. If two or more anthologies are listed, the decision regarding which one to
consult will depend on the user’s needs. A second way to use this index is to start with the text.
Knowing the excerpt title or the first line of text of a vocal work, but not the composer and/or
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viii ANINDEXTOMUSICINSELECTEDHISTORICALANTHOLOGIESOFWESTERNARTMUSIC
name of the entire composition, the user should consult the Index of Excerpt Titles and First
Lines of Text. Lastly, the user may wish to find works associated with a particular literary figure.
In this case, the reader will consult the Index of Authors and Literary Names.
CRITERIAFORINCLUSION
There are a large number of music anthologies in existence; the GroveMusic Onlineentry for
“Editions, Historical: Anthologies,” for example, lists hundreds of them.1 Not all have been
examined in the present index of 112 historical anthologies. Only those that meet the following
criteria are included in this volume. The anthology must:
1. include entire compositions, complete movements, or very substantial excerpts;
2. be arranged by musical period, genre, or composer;
3. be either an historical anthology or an anthology for musical analysis;
4. be devoted to Western art music;
5. include works by more than one composer;
6. be readily accessible at either a university/college library or bookstore, or available for pur-
chase through a publisher or bookseller;
7. be an independent work and not part of an extended multi-year, multi-volume monument
set or Denkmäler series; and
8. have been published no earlier than 1930.2
Several online sites offer access to scores; the quality of the edited works, however, is variable
and these databases are not always readily available. The International Music Score Library Proj -
ect(IMSLP), while easily found on the web but not indexed in the present volume, does not al-
ways provide reliable sources. Moreover, the format of the compositions is not consistent and as
such, cannot be counted on to meet the needs of the teacher, researcher, or student. Music does
not consistently download easily and the quality of the sources is of uneven quality. EBSCO’s
Index to Printed Music, also not indexed here, is another online source that many will find at-
tractive. Yet here, too, we run into obstacles and issues. What happens, one might ask, to those
people who do not have access to the EBSCO Index? Many institutions may not subscribe to it,
perhaps as a cost-saving measure, and an individual subscription may not be feasible. Further-
more, those scholars not affiliated with an institution (and there are many), will also find they
have no access to such an online source, and as such, are excluded. In both cases, the decision
not to include either IMSLP or the EBSCO Index was based on accessibility, lack of a critical
apparatus, and/or format.
The one online source included in this volume is the fairly new A-R Editions Online Music
Anthology. This anthology is available free-of-charge to instructors. Students pay for individual
subscriptions, although institutional site licenses are also available resulting in lower costs. The
current volume indexes those compositions contained in the A-R Editions Online Music An tho -
logyas of December 2016. Compositions added after that time are not included.
ORGANIZATIONANDCONTENTSFOREACHENTRY
Musical examples are indexed by composer, or, if none is known, under the heading
“Anonymous.” Compositions are listed alphabetically, each with a numeric identifier. If a musi-
cal work appears in only one anthology, the reader will see the name of the composition fol-
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INTRODUCTION ix
lowed by a single entry. For example, as illustrated in Figure 1, Patrick Gilmore’s When Johnny
comes marching home againis number 2489.
Figure 1. Sample index entry.
GILMORE, PATRICKSARSFIELD(1829−1892)
2489 When Johnny comes marching home again
Marrocco-Gleason: 120, pp. 302–03 (vocal-keyboard score)
Text: by Gilmore
Notes: published under the name Louis Lambert
When a composition appears in multiple anthologies, separate entries will be arranged alphabeti-
cally by short reference title.
If multiple portions of a particular composition are present (movements, arias, choruses,
separately-named sections, and the like), these are identified through the addition of decimals to
the numeric identifier. Figure 2 informs us that two parts of Grieg’s Peer Gynt, Suite No. 1 (in-
dex entry number 2559) are contained in volume 2 of Kristine Forney and Richard Hickman’s
The Norton Scores: A Study Anthology, 11th edition: “Morning mood” (index entry number
2559.1) and “In the hall of the mountain king” (index entry number 2559.2).
Figure 2. Two parts from a multi-movement work.
2559 Peer Gynt, suite no. 1, op. 46
2559.1 – Morning mood
2559.2 – In the hall of the mountain king
Forney-Hickman11 II: 11, pp. 200–30 (full score, explanatory notes)
Entries with decimal modifiers are organized by order of their appearance in the composition—
first, second, third movement; act 1, 2, 3; successive parts of song cycles; and the like. These
component parts are identified as movements if the work is a symphony, sonata, string quartet,
or similarly constructed composition. Portions of works such as operas that are divided into acts
and scenes are identified in that manner. Compositions that use numbers or titles (i.e., song cy-
cles, passions, etc.) are labeled as “no.” As shown in Figure 3, two movements of Johannes
Brahms’s Quintet for clarinet and strings, op. 115, are available for inspection in the indexed
anthologies; the first and second movements are identified as 1541.1 and 1541.2 respectively.
Figure 3. Two movements from a multi-movement composition.
1541 Quintet for clarinet and strings, op. 115, in B minor
1541.1 – Movement 1: Allegro
Starr-Devine II: pp. 159–64 (full score)
Turek: pp. 565-76 (full score, explanatory notes, study questions)
1541.2 – Movement 2: Adagio
Lincoln-Bonta II: 102, pp. 147−52 (full score, explanatory notes)
Not all the component parts of a given composition are included in the anthologies. Thus,
we may find only movements 1 and 4 of a particular symphony, or numbers 10 and 13 of a song
cycle. The reader should not expect the index number to be the same as the movement number,