David J Buch
University of Northern Iowa, Music, Emeritus
A study on the sources of the theme in Sor's Op. 9 Variations. Revised as chapter 20 in Estudios sobre Fernando Sor, ed. Luis Gásser. Madrid: Instituto Complutense de Ciencias Musicales [2003], 353-7.
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THE lutenist-composers of the third decade of the seventeenth century began to develop a new repertory for the solo lute. By the end of the century some writers and composers concerned with transferring the repertory or its style to the... more
THE lutenist-composers of the third decade of the seventeenth century began to develop a new repertory for the solo lute. By the end of the century some writers and composers concerned with transferring the repertory or its style to the keyboard acknowledged that this music had certain idiomatic features. The subject of the present essay is to investigate the terms and concepts used to describe this body of music and to clarify exactly which terms were employed in the period and which terms are of modern origin. Since the lute repertory had a profound influence on seventeenthcentury keyboard composers, an investigation of these concepts might prove helpful in our understanding of what the French solo instrumental style meant to early Baroque musicians.
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Research Interests: Art, Literature, Enlightenment, Mozart, Literary studies, and 3 moreFlute, Historical Studies, and Musical
This article will show the results of analysis of previously neglected primary sources, particularly composer autograph scores for operas commissioned at Emanuel Schikaneder\u27s Theater auf der Wieden in the 1790s. The analysis reveals... more
This article will show the results of analysis of previously neglected primary sources, particularly composer autograph scores for operas commissioned at Emanuel Schikaneder\u27s Theater auf der Wieden in the 1790s. The analysis reveals evidence of musical collaboration by composers at the theater, and it supports reports of Schikaneder\u27s musical contributions to scores for his librettos, particularly Mozart\u27s Die Zauberflote. The question of whether Schikaneder\u27s musical ideas were original or derived from the music of others is another matter. He certainly recycled his own work and Leopold Mozart observed that he freely borrowed the work of others
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Research Interests: Music History, Musicology, Art, Literature, Opera, and 4 moreMozart, Allegory, Scrutiny, and Musical
Research Interests: Opera and Jewish Music
ABSTRACTMozart's bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression. Moreover, his association with Emanuel Schikaneder's supposedly dissolute... more
ABSTRACTMozart's bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression. Moreover, his association with Emanuel Schikaneder's supposedly dissolute Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, originating after Mozart's death and embellished in nineteenth-century commentary and scholarship. Examples of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this peri...
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ABSTRACT
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In Mozart Jahrbuch 2000, 89-124.
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in The Past as Present. Papers Read at the Inter-congressional Symposium, Budapest & Visegrád, August 2000. Budapest: Liszt Ferenc Academy of Music, 2003, 193-206.
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ABSTRACT
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... The vogue for preserving earlier Baroque repertories in the late seventeenth century is the subject of Patricia M. Ranum, << "Mr de Lully en trio", Etienne Loulie ... F 496, p. 91: Ballet de Filoux... more
... The vogue for preserving earlier Baroque repertories in the late seventeenth century is the subject of Patricia M. Ranum, << "Mr de Lully en trio", Etienne Loulie ... F 496, p. 91: Ballet de Filoux [1607], 2me Entree [third section] b. Terpsichore, cclxi, a 4, << MPC >>, Ballet de Filou, No ...
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Review
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Der wohltätige Derwisch oder Die Schellenkappe (The Beneficient Dervish, or The Fool's Cap), first performed in Vienna in 1791, is a recently rediscovered German opera. As in Mozart's Die Zauberflöte, the libretto is by Emanuel... more
Der wohltätige Derwisch oder Die Schellenkappe (The Beneficient Dervish, or The Fool's Cap), first performed in Vienna in 1791, is a recently rediscovered German opera. As in Mozart's Die Zauberflöte, the libretto is by Emanuel Schikaneder and based on a fairy tale from Christoph Martin Wieland's Dschinnistan, in this case “The Princess with the Long Nose.” The collaborative music for this three-act “Lust- und Zauberspiel mit Maschinen, Arien und Chören” (comic-magic play with [stage] machines, arias, and choruses) has been attributed to three composers in the surviving sources: Johann Baptist Henneberg, Benedikt Schack, and Franz Xaver Gerl. Additional music may have been composed by Schikaneder and perhaps Mozart, who contributed to the previous fairy-tale opera at Schikaneder's theater, Der Stein der Weisen oder Die Zauberinsel (The Philosopher's Stone or The Enchanted Island, vol. 76 in this series), first performed in 1790. Again seven months later, the same playwright, singers, actors, and kapellmeister created Die Zauberflöte, which contains some roles parallel with Der wohltätige Derwisch. Der wohltätige Derwisch proved to be highly successful in Vienna and was also performed in various cities in Austria, Germany, Bohemia, Moravia, and Hungary as well as in St. Petersburg, Russia. Only excerpts appeared in print, however, and about twenty years after its premiere the opera vanished from the repertory.
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Sample pages
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In this guest editorial, the author provides evidence of the unreliable nature of the majority of Tárrega’s first editions, and the substandard quality of most modern editions. The author argues that in light of the recent availability of... more
In this guest editorial, the author provides evidence of the unreliable nature of the majority of Tárrega’s first editions, and the substandard quality of most modern editions. The author argues that in light of the recent availability of formerly inaccessible primary sources, the time is right for a scholarly edition of Tárrega’s complete works with state-of-art editorial methods.
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It has recently come to light that the Catalan periodical publication El Sanpolench provides detailed reports of two concerts by Tárrega in San Pol de Mar in August 1893 and in September 1894. Until now we did not have documentation on... more
It has recently come to light that the Catalan periodical publication El Sanpolench provides detailed reports of two concerts by Tárrega in San Pol de Mar in August 1893 and in September 1894. Until now we did not have documentation on Tárrega's concerts in the aforementioned periods. The detailed descriptions provided in these publications offer new insights.
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In this guest editorial, the author provides evidence of the unreliable nature of the majority of Tárrega’s first editions, and the substandard quality of most modern editions. The author argues that in light of the recent availability of... more
In this guest editorial, the author provides evidence of the unreliable nature of the majority of Tárrega’s first editions, and the substandard quality of most modern editions. The author argues that in light of the recent availability of formerly inaccessible primary sources, the time is right for a scholarly edition of Tárrega’s complete works with state-of-art editorial methods.
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Among the forgotten but highly popular operas of the late eighteenth century, Der dumme Gärtner aus dem Gebürge oder Die zween Anton (The Dumb Gardener from the Mountains or The Two Antons, Vienna, 12 July 1789) seems particularly worthy... more
Among the forgotten but highly popular operas of the late eighteenth century, Der dumme Gärtner aus dem Gebürge oder Die zween Anton (The Dumb Gardener from the Mountains or The Two Antons, Vienna, 12 July 1789) seems particularly worthy of reexamination. The Antons (as Mozart called it) was the subject of much commentary and praise; it was performed in almost every German theatre over the next two decades, and it was translated into Czech. The success of the opera inspired six sequels and secured the place of its author, Emanuel Schikaneder, in the popular imagination of the Viennese public. This success also made possible the series of fairy-tale operas that included Mozart’s Die Zauberflöte (1791). Die zween Anton was also the first original opera of Emanuel Schikaneder produced the Theater auf der Wieden after he had taken over its direction; the music was a collaborative composition by Franz Xaver Gerl, Benedikt Schack, Johann Baptist Henneberg, and probably Schikaneder himself. With the recent recovery of a Viennese manuscript copy of Die zween Anton in Hamburg’s State and University Library, we can now investigate this opera in detail.
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Sample pages fro,m Yuval Music Series 9. Jerusalem: The Jewish Music Research Centre, 2012. Review in Music & Letters
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[with Manuela Jahrmärker]. Göttingen: Hainholz Verlag, 2002.
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Sample pages from Recent Researches in the music of the Classical Era 95 (Middleton WI: A-R Editions, 2014). [60 Lieder by Mozart, Müller, Hoffmann, Wanhal, et alii] See... more
Sample pages from Recent Researches in the music of the Classical Era 95 (Middleton WI: A-R Editions, 2014). [60 Lieder by Mozart, Müller, Hoffmann, Wanhal, et alii]
See https://books.google.com/books?id=wlDkAwAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
See https://books.google.com/books?id=wlDkAwAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
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Sample pages from Recent Researches in the music of the Classical Era 81. A-R Editions: Middleton, WI, 2010 [a fairy-tale singspiel by Emanuel Schikaneder, music by B. Schack, F. X. Gerl, J. B. Henneberg]. Orchestral and piano-vocal... more
Sample pages from Recent Researches in the music of the Classical Era 81. A-R Editions: Middleton, WI, 2010 [a fairy-tale singspiel by Emanuel Schikaneder, music by B. Schack, F. X. Gerl, J. B. Henneberg]. Orchestral and piano-vocal score. CD: Boston Baroque, Martin Pearlman, Telarc, CD-80573.
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Sample pages from Recent Researches in the music of the Classical Era 92-93. 2014. 4 Vols. Orchestral and piano-vocal score.
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Sample pages. Dance and Music Series 7. Pendragon Press, 1994. Reviews: Dance Research 14 (1996), 91-3, The Musical Times 137/1844 (1996), 33.
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Sample pages from Recent Researches in the Music of the Baroque Era 62. Madison, WI: A-R Editions, 1990. Reviews: Early Music 29 (1991), 293-6, MLA Notes 49 (1993), 1253-5.