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Collection The Moldenhauer Archives - The Rosaleen Moldenhauer Memorial

Contributors

FERENC BÓNIS, who resides in Budapest, is a musicologist and an eminent expert on Béla Bartók. He is also President of the Hungarian Kodály Society.

Additional writings of Prof. Dr. Bónis include:

  • Béla Bartók, His Life in Pictures and Documents. Budapest: Corvina, 1981. With a biography as well as 420 pictures & documents; also in German, Hungarian, Japanese and Russian.
  • Hódolat Bartóknek és Kodálynak (Devotion to Bartók and Kodály, essays in Hungarian). Budapest: Püski, 1992.
  • Mozarttól Bartókig (From Mozart to Bartók, essays in Hungarian). Budapest: Püski, 2000.
  • Béla Bartók-Menyhért Lengyel, The Wonderful Mandarin (with a short biography of the author, written by Peter Bartók). Homosassa: Bartók Records, 2002.
  • Béla Bartók, As We Saw Him Recollections of his Contemporaries. Homosassa: Bartók Records, 2004. (in preparation)

SUSAN CLERMONT is a Music Specialist in the Music Division at the Library of Congress.

JOHN DAVERIO is the author of Robert Schumann: Herald of a "New Poetic Age" (Oxford UP, 1997) and Nineteenth-Century Music and the German Romantic Ideology (Schirmer Books, 1993). He is currently Professor of Music and Chairman of the Musicology Department at Boston University.

JOËL-MARIE FAUQUET, Director of Musicological Research at the Centre National de la Recherche Scientifique, works on French chamber music and on the social history of music in the nineteenth century He is currently preparing critical editions of Gluck’s Orphée and Alceste, as they were edited by Berlioz, for The New Berlioz Edition.

LINDA B. FAIRTILE is a Music Specialist at the New York Public Library for the Performing Arts.

DOUGLAS W. FOARD, currently the Executive Secretary of Phi Beta Kappa, is an historian of modern Spain and is the author of The Revolt of the Aesthetes: Ernesto Gimènez Caballero and the Origins of Spanish Fascism.

DENISE P. GALLO is a Senior Music Specialist at The Library of Congress. She also serves as adjunct professor of Music History at The Catholic University of America.

Additional writings of Dr. Gallo include:

  • “Coccia, Maria Rosa,” entry in The New Grove Dictionary of Music and Musicians, 2nd edition. London: Macmillan, 2001.
  • “Patronage,” “Motown,” and “Barbershop/Beautyshop Quartets,” entries in Women and Music in America Since 1900: An Encyclopedia. Westport, Conn.: Greenwood Press, 2002.
  • Gioachino Rossini: A Guide to Research. New York: Routledge, 2002.
  • “The Music of Verdi on Mechanical Boxes.” The Verdi Forum, 2003.

DON C. GILLESPIE is a musicologist specializing in American music and is vice-president of C. F. Peters Corporation.

PHILIP GOSSETT, general editor of the Edizione critica delle opere di Gioachino Rossini and of The Works of Giuseppe Verdi, is the Robert W. Reneker Distinguished Service Professor and Dean of the Division of the Humanities at the University of Chicago.

Additional writings of Philip Gossett include:

  • “Semiramide by Gioachino Rossini.” Edizione critica delle opere di Gioachino Rossini, Series I, Vol. 23, Philip Gossett and Alberto Zedda, ed. Pesaro: Fondazione Rossini, 2001.
  • “La gazzetta by Gioachino Rossini.” Edizione critica delle opere di Gioachino Rossini, Series I, Vol. 18, Philip Gossett and Fabrizio Scipioni, ed. Pesaro: Fondazione Rossini, 2002.
  • “Editorial Theory, Musical Editions, Performance: Nineteenth-Century Faultlines from a Twenty-First-Century Perspective,” Tom Mathiessen, ed. Musicology in the Mirror, Conference proceedings. Bloomington, Indiana, 2002. 217-32.
  • Facsimile edition of the autograph manuscript of Don Pasquale, with an introduction. Rome: Accademia di Santa Cecilia, 2000.
  • “Anna Bolena” and the maturity of Gaetano Donizetti. Oxford: Oxford University Press, 1985.

WILLIAM D. GUDGER, Professor of Music History and Theory at the College of Charleston and Organist of the Cathedral of St. Luke and St. Paul, writes on Handelian topics and eighteenth-century British organ music in such publications as The Musical Times, The Diapason, The American Organist, Current Musicology, and the Händel-Jahrbuch.

PATRICIA HALL is Associate Professor of Music Theory at the University of California, Santa Barbara, and the author of A View of Berg’s Lulu Through the Autograph Sources.

CAROL A. HESS is an Assistant Professor of Music at Bowling Green State University and has published on Spanish and American music (of the North and the South) and Brahms.

KEVIN LaVINE is a member of the reference staff of the Music Division at the Library of Congress.

ALFRED MANN, Professor Emeritus of Musicology at Rutgers University and at the Eastman School of Music, University of Rochester, has been connected in personal friendship with Hans Moldenhauer for over fifty years.

ROBERT L. MARSHALL is the Sacher Professor of Music at Brandeis University and the author of numerous publications on the life and music of J. S. Bach and Mozart.

FELIX MEYER, musicologist, is Curator of Music Manuscripts at the Paul Sacher Foundation.

PEGGY MONASTRA is currently working as Promotion Manager of European Catalogues for G. Schirmer, Inc. in New York.

RENA CHARNIN MUELLER’s recent work on Liszt includes Henle urtext editions of the Ballades and the Trois Études de Concert, and a new edition of Les Préludes for Editio Musica Budapest. With Mária Eckhardt, she is preparing the new Franz Liszt Werkverzeichnis (Henle Verlag).

Additional writings of Rena Charnin Mueller include:

  • “The Liszt Songs, “ in The Cambridge Companion to the Song, ed. James Parsons (in press; January 2004)
  • "Franz Liszt: List of Works," in The New Grove Dictionary of Music and Musicians, revised ed. London: Macmillan, 2001. [with Mária Eckhardt], 785-872
  • “Liszt's Catalogues and Inventories of His Music," in Studia Musicologica XXXIV, 1992. 231-250
  • "Sketches, Drafts, and Revisions: Liszt at Work," in Wissenschaftliche Arbeiten aus dem Burgenland: Die Projekte der Liszt-Forschung, 1991. 23-34
  • “Reevaluating the Liszt Chronology: The Case of Anfangs wollt’ ich fast verzagen," in 19th Century Music XII/2, Fall, 1988. 132-47

JON NEWSOM is Chief of the Music Division at the Library of Congress, where, over a span of thirty-two years, he has served as Head of the Reference Section and Assistant Chief.

MICHAEL NOTT is a freelance musicologist and full-time parent who specializes in American music.

MICHAEL O’BRIEN, who holds Master’s degrees in Musicology and Library Science, is a System Administrator for the Mission Viejo Library; California.

PHILIP OLLESON is Senior Lecturer in Music, School of Continuing Education, University of Nottingham.

Additional writings of Philip Olleson include:

  • Samuel Wesley: The Man and his Music. Woodbridge: Boydell Press, 2003.
  • The Letters of Samuel Wesley: Professional and Social Correspondence, 1797-1837. Oxford: Oxford University Press, 2001.
  • Samuel Wesley (1766-1837): A Source Book. Aldershot: Ashgate, 2001. (with Michael Kassler)
  • “Samuel Wesley and the English Bach Awakening,” The English Bach Awakening: Knowledge of J. S. Bach and his Music in England, 1750-1830, Michael Kassler (ed.). Aldershot: Ashgate, forthcoming 2004.
  • “Samuel Wesley and the Music Profession,” in Music and British Culture, 1785-1914: Essays in Honour of Cyril Ehrlich, Christina Bashford and Leanne Langley, eds. Oxford: Oxford University Press, 2000. 23-38
  • 'The London Roman Catholic Embassy Chapels and their Music in the Eighteenth and early Nineteenth Centuries,” Music in Eighteenth Century England, David Wyn Jones, ed. Aldershot: Ashgate, 2000. 101-18

MASSIMO OSSI is Associate Professor in the Music Program of the University of Rochester. His primary area of research is early seventeenth-century secular music, with particular emphasis on the madrigals and theoretical writings of Claudio Monteverdi.

ROBERT PIENCIK0WSKI, a specialist in twentieth-century music, has been on the staff of the Paul Sacher Stiftung since 1990. He has published numerous articles on Boulez, Messiaen, and Stockhausen, among others.

ROBIN RAUSCH is a Music Specialist in the Music Division, Library of Congress.

Additional writings of Robin Rausch include:

EDWARD R. REILLY is the author of Gustav Mahler and Guido Adler: Records of a Friendship and a number of studies of Mahler’s musical manuscripts.

Additional writings of Edward Reilly include:

  • Gustav Mahler and Guido Adler: Records of a Friendship. Cambridge: Cambridge University Press, 1982.
  • “Das klagende Lied reconsidered,” in Mahler Studies, ed. S.E. Helfing, Cambridge: Cambridge University Press, 1997. 25-52.
  • “The Manuscripts of the Seventh Symphony,” in Gustav Mahler, Facsimile edition of the Seventh Symphony, ed. Donald Mitchell and Edward R. Reilly. Amsterdam: Rosbeek Publishers, 1995, commentary volume. 75-95.
  • “Todtenfeier and the Second Symphony,” and “Mahler in America” in The Mahler Companion, ed. D. Mitchell and A. Nicholson. Oxford: Oxford University Press, 1999. 84-125, 422-437.
  • Introduction to the facsimile of the preliminary draft of “Der Abschied’” from Das Lied von Erde in the Mengelberg Archive in the Nederlands Muziek Instituut. The Hague: Stichting “Rondom Mahler”, 2002. 7-15.

LAURIEJEAN REINHARDT holds a Ph.D. in musicology and writes frequently on topics in twentieth- century European and American music.

GEORGE ROCHBERG, now in his eighties, continues writing, traveling, and helping performers prepare new and old works.

Additional writings of George Rochberg include:

  • The Aesthetics of Survival; A Composer’s View of Twentieth-Century Music. Ann Arbor: The University of Michigan Press, 1984

GUNTHER SCHULLER is a Pulitzer prize-winning composer, conductor, jazz historian, educator, former President of the New England Conservatory of Music in Boston, and an indefatigable presenter of new music.

WATKINS SHAW, Honorary Librarian of the Ouseley Collection at St. Michael’s, Tenbury, and Keeper of the Royal College of Music Library, has published widely and served as principal editor for the publications of Novello.

WAYNE SHIRLEY is a retired Music Specialist from the Music Division, Library of Congress. He writes often on Gershwin but has, up until now, written about Dallapiccola only in program notes.

MORTEN SOLVIK, born in Norway and educated in the United States, currently lives in Vienna, Austria, and is a freelance musicologist researching musical and cultural topics of the nineteenth century. He is a lecturer at the Hochschule für Musik und darstellende Kunst and at the Institute of European Studies.

CLAUDIO SPIES, composer, is Professor Emeritus of Music at Princeton University, from which he recently retired after twenty-eight years of teaching.

FRED STEINER is a composer and conductor who worked for many years in the film and television studios in Hollywood. He has written and lectured extensively about the history and art of music for motion pictures.

Additional writings of Fred Steiner include:

  • “Herrmann’s ‘Black and White’ Music for Hitchcock’s Psycho,” Filmmusic Notebook. v. 1, nos.1-2, 1974.
  • “An Examination of Leith Stevens’ Use of Jazz in The Wild One.” Filmmusic Notebook. v. 2, nos. 2-3, 1976.
  • “A History of the First Complete Recording of the Schoenberg String Quartets.” Journal of the Arnold Schoenberg Institute. v. 2, no. 2, 1978. Reprinted in liner notes for Schoenberg String Quartets Nos. 1-4, Kolisch Quartet (1936-37). Archiphon ARC-103/4, 1992.
  • “Music for Star Trek: Scoring a Television Show in the Sixties,” in Iris B. Newsom, ed., Wonderful Inventions: Motion Pictures, Broadcasting and Recorded Sound at the Library of Congress. Washington: Library of Congress, 1985.
  • “What Were Musicians Saying About Movie Music During the First Decade of Sound? A Symposium of Selected Writings,” in Film Music I, edited, with an introduction, by Clifford McCarty. New York & London: Garland, 1989. Repr. Los Angeles, Calif.: The Film Music Society, 1998.

JÜRGEN THYM, Professor and Chair of Musicology at the Eastman School of Music, has published widely on nineteenth-century German lied.

Additional writings of Jürgen Thym include:

  • "A Cycle in Flux: Schumann's Eichendorff Liederkreis, Opus 39," in Word Music Studies: Essays on the Song Cycle and Defining the Field, ed. Walter Bernhart and Werner Wolf. Amsterdam: Rodopi, 2001.165-181.
  • "Crosscurrents in Song: Five Distinctive Voices" [Carl Loewe, Fanny Hensel, Franz Liszt, Robert Franz, Peter Cornelius], in German Lieder in the Nineteenth Century, ed. Rufus Hallmark. New York: Schirmer Books, 1996.153-185.
  • "Repetition as Structure in the German Lied: The Ghazal and its Musical Settings," with Ann C. Fehn. Comparative Literature XLI, 1 (Winter 1989). 33-52.
  • 100 Years of Eichendorff Songs. Madison/Wisconsin: A-R Editions, 1983.
  • "Schumann in Brendel's Neue Zeitschrift für Musik 1845-1856," in Essays on Mendelssohn and Schumann, ed. Jon W. Finson and R. Larry Todd. Durham: Duke University Press, 1984. 21-36 and 163-165. Also in Italian: "Schumann e la critica al suo pensiero: La Neue Zeitschrift für Musik di Brendel, negli anni 1845-1856." Musica/Realta IV, 11 (1983). 135-161.

R. LARRY TODD is Professor and Chair of the Music Department at Duke University. He has written extensively about nineteenth-century music, particularly Mendelssohn’s.

Additional writings of Larry Todd include:

  • Mendelssohn: A Life in Music. New York: Oxford University Press, 2003.
  • Mendelssohn: "The Hebrides" and Other Overtures. Cambridge: Cambridge University Press, 1993.
  • Mendelssohn and His World, ed. R. Larry Todd. Princeton: Princeton University Press, 1991.
  • Schumann and His World, ed. R. Larry Todd. Princeton: Princeton University Press, 1994.
  • Nineteenth-Century Piano Music, ed. R. Larry Todd. New York: Routledge, 2003.

AURELIO DE LA VEGA, composer, was born in Cuba in 1925, became an American citizen in 1966, and is currently Distinguished Emeritus Professor at California State University, Northridge.

NEAL ZASLAW is Herbert Gussman Professor of Music at Cornell University and editor of Der neue Köchel.

Additional writings of Neal Zaslaw include:

  • The Birth of the Orchestra – History of an Institution, 1650-1815, John Spitzer and Neal Zaslaw. Oxford: University Press, 2003.
  • Mozart’s Symphonies – Context, Performance Practice, Reception. Oxford: Clarendon Press, 1991.
  • “Mozart as a Working Stiff,” On Mozart, ed. James M. Morris. New York: Cambridge University Press, 1994. 102-112.
  • “Ornaments for Corelli’s Violin Sonatas, Op. 5,” Early Music (1996), 24/1: 95-115.
  • “Mozart’s Salzburg Sacred Music and his Mass in C minor, K. 427,” in Mozartiana: The Festschrift for the Seventieth Birthday of Professor Ebisawa Bin, Tokyo: Tokyo Shoseki Co., 2001. 571-588.