Violin Concerto Research Articles

Enhancing performance through Raga understanding: Insights into L. Subramaniam’s „Fantasy on Vedic Chants”

"Fantasy on Vedic Chants," a seminal work by L. Subramaniam, presents a unique fusion of Carnatic music and Western orchestration. Premiered at Lincoln Center in 1985, this composition integrates Vedic chants into a Western-style violin concerto, exemplifying a significant cultural and musical convergence. The concerto is structured in three movements, each reflecting different emotional aspects of the Carnatic raga system. This article highlights the piece’s use of modal approaches and its impact on the performance. Through its integration of Vedic motifs and its exploration of spiritual and musical wisdom, "Fantasy on Vedic Chants" stands as a testament to Subramaniam's artistic vision and his contribution to global music heritage.

Klassisia muotoja persoonallisin kääntein: Erik Tulindbergin jousikvartetot op. 1 ja op. 2

This article concerns the String Quartets of Erik Tulindberg (1761–1814), who was the first known Finnish composer. Tulindberg was musically active primarily in the late 1770s and early 1780s, when he was studying at the Royal Academy of Turku (Kunglika Akademien i Åbo). He was respected as a skilful violinist and a chamber musician, playing in the Academy’s orchestra on ceremonial occasions and giving public concerts. Tulindberg’s compositional oeuvre comprises two Violin Concertos, six String Quartets and a few works for solo violin. The corpus of Tulindberg’s String Quartets is approached from two perspectives, namely conventional strategies of the Classical style on one hand, and Tulindberg’s recurrent choices as attributes of his personal musical language on the other. Widely used analytical tools are applied in studying the corpus, and the Quartets are compared with certain works that originate in the same period and reside in Tulindberg’s archive. The theoretical framework includes writings that focus specifically on describing the compositional strategies used in Classical and Pre-Classical music, the authors including James Hepokoski and Warren Darcy, Graham Hunt, William Caplin, Poundie Burstein and Danuta Mirka, among others. The discussion covers 1) the overall structure, the key design and cadences in the opening movements, all of which are in sonata form; 2) the essential harmonic traits; and 3) surface characteristics and expressive means such as topics, melodic figuration and instrumental writing. The analysis reveals that Tulindberg adopted the commonly used strategies and main expressive means of the Classical style. The attributes of his musical language include traits such as the constant use of extended modal mixture, enthusiasm for a varied rondo-form and frequent violoncello solos in the upper register. Although the String Quartets are conventional in structure, each one is individual in its construction. The stylistic correspondence between the works and those of composers such as Joseph Haydn, Luigi Boccherini and Ignace Pleyel, shows his thorough understanding of the music written by his contemporaries.

Unravelling Schoenberg’s Violin Concerto: Tracing the Crystallization of the Idea as a Performance Plan in the First Movement

Unravelling Schoenberg’s Violin Concerto: Tracing the Crystallization of the Idea as a Performance Plan in the First Movement

György Ligeti: hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern. Aspects of a Crystalline Microtonality

This is a study on the microtonal aspects of György Ligeti’s Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch. The special mixture of equal temperament versus just intonation is analyzed for longer passages and adhoc chords in the concept of Ligeti. The movement “Choral” is confronted with Harry Partch’s idea of “tonality flux”. The “Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern” by György Ligeti, composed in 1998-2002, joins a long chain of exploratory forms of thought in his compositional work long years before he had pondered meloharmonics that would illuminate the great theme of tonality in a novel, personal way. In the Horn Trio (1982), melodies containing natural tones appear for the first time in the movement “Alla Marcia.” Previously, in the same work, Ligeti used the 11th harmonic as a precise quarter tone. Yet in the Horn Trio, these microtonal events are transverse to the other voices of violin and piano. Ligeti spoke of three “autists,” each living in his world of moods/tunings. In the works that followed, microtones take up an ever wider space, up to the Piano Concerto (1985-88) with 5th, 7th or 11th harmonics in trumpet, horn and trombone, and then to the Violin Concerto (1990-92), where two solo satellite strings from the orchestra, violin and viola, are retuned in natural interval relationships. The Viola Solo Sonata (1991-94) contains in the first movement “Hora lungă” a sign world new to Ligeti for natural thirds, natural sevenths and the 11th natural tone. He adopts these signs for the Hamburgisches Konzert, on which we will now focus. Keywords: Ligeti, microtonality, Hamburgisches Konzert

Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès

This article applies the concept of isotopy to music to trace the dynamic appearances and interactions of topics in three works by György Ligeti and Thomas Adès. In contrast to previous applications of isotopy to music, the model I propose here is explicitly topic-centered, leading me to a complementary reconfiguring of Johanna Frymoyer’s hierarchy of topical characteristics. My theoretical adaptions are motivated by the observations that: (1) a topic’s identity is often unclear (".fn_cite($Frymoyer_2017).", ".fn_cite($SanchezKisielewska_2023)."), an ambiguity which can be exploited compositionally; (2) the same topic can recur at different degrees of clarity in a single work, leading the listener to draw out a larger structural role for the topic (isotopy) in lieu of clear formal processes in other parameters in this repertoire (harmony, rhythm, etc.); and (3) if multiple topics are engaged, they can relate to one another in formally significant ways. Using the Chorale topic as a case study, I first demonstrate a simple closed isotopy in the second movement of Ligeti’s Violin Concerto, followed by open isotopies of the Chorale and Sound Mass topics in Ligeti’s Hamburg Concerto. Finally, in applying this approach to Thomas Adès’s Piano Quintet I demonstrate how an isotopic analysis can work in dialogue with the familiar trajectory of sonata form. This approach aims to draw out semantic aspects of Ligeti’s and Adès’s highly referential style, which is representative of late-twentieth century, semantically dense, post-collage compositions, filled with familiar topics shifting in and out of focus kaleidoscopically.

Analysis of Technical Difficulties in the Performance of Liszt’ Etude La Campanella

Liszt’s Paganini Etude La Campanella belongs to a high difficulty etude, which is a piano piece adapted by Liszt based on the theme of III. Rondo "La Campanella" of Italian violinist Paganini’s Violin Concerto No. 2 in B Minor. The author analyzes the creative background, structure, and technical exercises targeted by various variations of Liszt’s Paganini Etude La Campanella, and compares it with different adapted versions, so that performers can master each variation of the main theme of La Campanella and overcome technical difficulties in difficult parts one by one based on a thorough understanding of the work and have a preliminary understanding of the characteristics of Liszt’s arrangement. By comparing different adapted versions of La Campanella, the performer can gain new inspiration from it.

The Hybrid Musical Landscape of Ligeti's Late Concertos

AbstractDiscussing his Horn Trio, György Ligeti imaginatively describes the second movement as a dance that was “inspired by different folk musics of nonexistent people, as if Hungary, Romania, and all of the Balkans were located somewhere between Africa and the Caribbean.” And in more general remarks about his works, he goes on to suggest that, rather than overtly referencing their stylistic features, he abstracted technical principles from various traditions and combined them into an idiosyncratically amalgamated musical language. This essay shows an expansive approach to hybridity in Ligeti's Violin Concerto and Hamburg Concerto, going well beyond previous remarks about African rhythmic influences. Ligeti's practice encompasses not only rhythm, but also texture, pitch, and tuning systems; it spans a wider breadth of traditions as well, including newly identified sources such as flute and panpipe ensembles from New Guinea and yodeling traditions from across the globe. An analysis of passages from these late concertos – undertaken alongside evidence from his ethnomusicological sources, recordings, and sketches housed at the Paul Sacher Stiftung – demonstrates the intricacies and patterns of Ligeti's late style and the compelling statement it makes about the role of hybridity and globalization in contemporary life.

Composition Techniques Specific to the Arabic Musical Language in Kareem Roustom's Violin Concerto No. 1

The Violin Concerto by K. Roustom stands out as a distinctive fusion of compositional styles, positioning itself uniquely within contemporary violin compositions. Rather than eliminating precedents, the concerto embraces a convergence of structurally and ideatically diverse directions, resulting in a harmonious and unified end product. The creative process, starting from seemingly unrelated hypotheses and concluding in a cohesive manner, finds precedent in various musical examples across different eras. The concerto's complex profile, revealed through analysis, reflects a mixture of elements that resist facile extraction or definition. The diversity of languages interwoven into the works' architecture lends them significant value, offering interpretive richness from initial reception to deep analytical exploration. Simultaneously, the imperative of originality underscores the nature and implementation of the directions within the concerto. Complemented by the composers' mastery, educational backgrounds, and intellectual capacities, the concerto exemplifies authenticity and value, contributing to the evolving landscape of contemporary creative expressions.

Mozart’s Violin Concerto in D Major, K. 271a/271i: A “Dubious” Work that is Nevertheless Worthy of Study

Mozart’s Violin Concerto in D Major, K. 271a/271i: A “Dubious” Work that is Nevertheless Worthy of Study

The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment

Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work should be said.
 James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). However, very soon he found that preaching was not his calling and moved in 1725 to London to commit himself to literary work. There he created his poetic tetralogy in blank verse Winter (first published in 1726), Summer (1727), Spring (1728) and Autumn, which appeared together under the title The Seasons in 1730 (revised version in 1744). Enthusiastic, patriotic and full of love for flora, fauna, people, landscapes and everchanging weather conditions of his surroundings, but also of the wider world, it was received with great admiration by his British compatriots. But not only them: a new fresh interest in nature and especially in the phenomenon of the seasons as well the wish to describe and express them through poetry and other artistic means can be traced in Europe. Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology.

Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions

The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which the means of symphonic transformation of thematic material, a rich polyphonic texture, complex forms of interaction between soloists and orchestra prevail. It is noted that the methods of symphonizing the musical fabric take place in accordance with the creative attitude of each composer, whose common stylistic space fits into the paradigm of romanticism — neoromanticism. Special attention paid to the V. Kyreiko’s concerto for violine and cello with orchestra, as the first in Ukraine double concert for string instruments, which is considered from point of imitation and development of the genre of instrumental concert. Emphasized the uniqueness of the author’s concept, which is revealed in the combination of deep musical content and clear form, understanding of the expressive possibilities of the violin and cello, and the disclosure of the natural beauty of the sound of the instruments.
 The main objective of the article is to compare the genre-stylistic features of the double concertos for violin and cello with the orchestra by J. Brahms and V. Kyreiko and to reveal the possibilities of their modern performance interpretation.
 The methodology of the research methodology includes the following methods: historical, which made it possible to determine the historical framework and attribute the work of composers to a certain era and style; genre-style analysis, which made it possible to reveal the stylistic features of musical expressiveness in the specified works of the composers; comparative analysis, thanks to which it became possible to compare intonation genre-style complexes in the work of composers; performance analysis, with the help of which the artistic and performance specifics of the double concerto for violin and cello with orchestra are highlighted in the aspect of updating the genre tradition of the 19th - second half of the 20th centuries.
 Results and conclusions. A comparative analysis of two original in design and methods of musical implementation of concertos for violin and cello and symphony orchestra by J. Brahms and V. Kуreiko allowed us to outline the wide genre and style space of existence of these bright artistic phenomena, which extends from the romanticism of the 19th century to the neo-romanticism of the 20th century, demonstrates the durability genre tradition, reveals the common features and individual differences of these works. Despite the different national and cultural context, both works embody the symphonic scale of the development of musical thought, they are marked by the breadth and ambiguity of lyrical and dramatic images. The thematic layer of the concerts is distinguished by its imaginative breadth: an epic story, elegiac romantic-song episodes, a multifaceted lyricaldramatic sphere, genre-dance finales with different emotional moods. The principle of thematic development is built on the basis of complementarity, contrasting juxtapositions of theme-images, avoidance of sharp clashes, associatively reminiscent of romantic poetic dramatic concepts. The double concertos for violin and cello by J. Brahms and V. Kуreiko demonstrate perfect skill in the presentation of each of the soloists, the construction of ensemble dialogues, and the interaction of the soloists with the orchestra. As a general trend, we state that both concerts continue the tradition of symphonizing the genre. Reviews of concerts performed by leading Ukrainian musicians of different generations (O. Horokhov — V. Chervov, B. Pivnenko — K. Polyanska) provide examples of standard performance versions, the performers' deep understanding of the composer's concepts, their inclusion in the general cultural and historical process. Undoubtedly, they are guidelines for further revealing the artistic potential of concerts.

A Brief Analysis of Brahms Violin Concerto in D Major, Op.77

Brahms is a giant in the era of romantic music, his works contain complex and delicate ideological changes in the hearts of the characters. His creative inspiration is deeply influenced by Schumann and other musicians, and the musical language expression in his works is sometimes tactful and sometimes obscure. Brahms has composed a large number of musical works throughout his life, including a large number of orchestral works, piano ensemble works, string ensemble works, solo piano songs, piano four-hand joint play, vocal duets, chorus, and solo works. Brahms's violin concerto consists of three movements, including the moderate Allegro in the first movement, the flexibility in the second movement, and the lively Allegro in the third movement. The first movement uses a 3/4 beat rhythm, a sonata style, the second movement uses a 2/4 rhythm, three paragraphs, and the third movement is also called the game-style Allegro, as the name suggests, is very fun, like a game. It uses a 2/4 beat rhythm, with an irregular rondo style. This article aims to helping learners to under its writing background and writing connotation of the Brahms Violin Concerto in depth, and to truly helping them restore a series of problems such as the deep promotion of the composer’s creation process and the origin of inspiration.

Vivaldi Violin Concerto "Four Seasons" -- Spring music analysis

Vivaldi Violin Concerto "Four Seasons" -- Spring music analysis

EASTERN MOTIFS IN VIOLIN LITERATURE

Violin repertoires one of the brightestpages of music history. New playing techniques have been developed throughout the history of violin art, in addition to this, virtuoso violin works, which requirenew playing techniques, have emerged. These are violin sonatas, variations, concertos. These works are also dedicated to different motifs and themes. Among theexamples are A. Vivaldi’s Four Violin Concertos the four seasons, Paganini’s Prayer Variations from G. Rossini’s “Moses”, or the Violin Caprices about Hunting or War (No. 9, 14, 17) . In the violin literature, there are many works of world composers devoted to Eastern motifs. Since the Baroque period, composers began to apply these motifs. This tendency continued all the time and led to the formation of a wider repertoire. Great interest in Oriental music is growing from both European and Russian composers. Passion for the Orient W. A. Mozart’s “Die Entführung aus dem Serail”, C. Saint-Saens’ “Samson et Dalilah”, J. Bizet’s “Jamele”, N. A. Rimsky-Korsakov’s “Scheherazade”, Reinhold Glière’s “Shakh-Senem” and has been seen many other works. These motives considered asnot only in large genres, but also in works of small genres. In this context, romance, suite and other works for violin attract attention.
 In this study, it is aimed to examine the period and composer styles in popular works of the violin repertoire composed on Eastern motifs such as “Romanza Andaluza” by P. Sarasate, “Orientale” by C. Cui, “Baal Shem” by E. Bloch and “Tzigane” by M. Ravel. These works were examined in terms of harmonic structure.

The Past and Future of Musical Genre in the Violin Concerto by Jean Sibelius

The purpose of this investigation is to analyse the Violin Concerto, Op. 47 by Jean Sibelius within the context of the composer’s symphony legacy as a whole. Among lots of historical connotations, it was the late romantic symphony conception of Anton Bruckner and J. S. Bach’s polyphony that were pointed out as factors that most infl uenced the conception and structure of Sibelius’s work. The violin concertos by J. Sibelius and D. Shostakovich were put together to trace the prospects for the development of the genre from the beginning to the middle of the 20th century.

Dubourg, Geminiani and the Violin Concerto in D Major: A Misattribution

Dubourg, Geminiani and the Violin Concerto in D Major: A Misattribution

Exploring Chinese Cultural Identity in the Liang Zhu Violin Concerto: An Intercultural Perspective on the Adaptation of Traditional Elements in Western Classical Music Language

"This article examines the phenomenon of interculturality through the lens of the Liang Zhu Concerto for Violin and Orchestra by He Zhanhao and Chen Gang. Interculturality is no longer merely a means of elevating the axiological value of a given context but has become a necessity for authenticating contemporary discourse. The role of interculturality in shaping the expression of creative intentions is amplified, as it attenuates divergences determined by the incongruity of individuals’ backgrounds by comprehensively observing the uniqueness of foreign elements from a familiarity-based perspective. The Liang Zhu Violin Concerto exemplifies the adaptation of East Asian culture to the context of the Western language and means of expression while preserving its Chinese cultural identity. This concerto has significant value and desirability for consumption due to the proportion of originality and familiarity which it upholds and determines its overall appeal. Ultimately, this article aims to explore how the Liang Zhu Violin Concerto achieves originality at a global level while preserving its Chinese cultural identity. Keywords: Interculturality, Liang Zhu, Identity, Imitation."

Инструментальный концерт в творчестве Бента Сёренсена

In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, which leads to a saturation of the musical material by means of various stylistic allusions. The unified conceptual sphere gives rise to the phenomenon of connections between different musical works in the output of the Danish composer, while the stylistic juxtapositions, as well as the contrasts of the heterogeneous material in terms of timbre and texture embody the principle of dialogue, which is characteristic of the genre of the concerto. The programmatic quality determines the variety of compositional solutions of Sørensen’s concertos, in which connection, it is proposed to differentiate all of his compositions into two categories: one is represented by compositional models that preserve or revise the concerto form (for example, the Violin Concerto, the Clarinet Concerto, the Third Piano Concerto), and the other demonstrates models, each one focusing on an individual project (for example, the First Piano Concerto, the Accordion Concerto, the Harpsichord Concerto, etc.). In the latter case, elements of instrumental theater are often introduced into the concerto genre. One specific means of dramaturgy in Sørensen’s concerto opuses is the technique of transformation of the timbre and acoustics of the sound sphere, which involves changing the means of playing, the instruments or the sound sources (for example, a transition of the functioning of the orchestral musicians to singing and playing harmonicas in the Accordion Concerto, the transition from playing tremolo to creating sounds on sandpaper blocks in the composition Mignon — Papillons, the substitution of acoustic sound with tape recording in the Clarinet Concerto). The provided analysis allows us to arrive at the conclusion that the sphere of the instrumental concerto forms a single musical-semantic space in Sørensen’s musical output, which is endowed with its own personal characteristic features.

Performance Perspectives in Jenő Hubay's Violin Concertos

AbstractJenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determining tempo, dynamics/dynamic planning, bowing/articulation, tempo rubato, and portamenti/vibrato to create a style of performance appropriate to Hubay's works.

Serenade in D Major for Orchestra by Ethel Smyth (review)

Reviewed by: Serenade in D Major for Orchestra by Ethel Smyth Jennifer Oates Ethel Smyth. Serenade in D Major for Orchestra. Edited by John L. Snyder. Middleton, WI: A-R Editions, 2021. (Recents Researches in the Music of the Nineteenth and Early Twentieth Centuries, v. 84) [1 score (xxiv, 190 p.) ISBN: 9781987206302, $425; 1 facsimile (viii, 140 p.) ISBN 9781987206326, $60] John L. Snyder's two-volume critical edition of Ethel Smyth's Serenade in D serves as the first commercial publication of the composer's first orchestral work. The edition consists of two volumes: a critical edition of the score and a reproduction of the manuscript. Each volume has a unique introduction allowing Snyder to maximize the use of his sources. Transcriptions of Smyth's program notes for the premiere, and over two dozen reviews are also included. Performance parts are available for rental via A-R Editions. In addition to this being the first published score of the Serenade, there is only one commercial recording (Ethel Smyth, Concerto for Violin, Horn & Orchestra; Serenade, BBC Philharmonic, cond. Odaline de la Martínez, Chandos CHAN 9449 [2006], CD). Some of Smyth's compositions are available via open-source websites, such as IMSLP, her publisher Universal Edition, or have been published in modern performance editions. At least one facsimile edition of a Smyth manuscript, her String Trio in D (see below), has been published. As far as I can tell, Snyder's marks the first critical edition of a Smyth composition. This is her first appearance in the Recent Researches in Nineteenth and Early Twentieth Centuries series, which includes twelve volumes by British composers (four of which feature the music of Alice Mary Smith). An edition of her music has yet to appear in Musica Britannica. Indeed, no volume of Musica Britannica is devoted to women composers or a single female composer. As a seminal figure in late nineteenth- and early twentieth-century music, a critical edition of Smyth's work is overdue. While her so-called "eccentricities" (e.g., being queer, a tendency to dress in a masculine manner, and a penchant for smoking cigars) helped capture the public's attention, her music earned and deserved its place in the concert halls and opera houses of Britain and on the continent. In Britain, she bucked traditions by carving out her own path and finding success without necessarily being a part of the unofficial inner circle of composers and conductors that dominated the musical scene in London. Like many British composers, Smyth benefitted from August Manns's interest. Manns, then conductor at the Crystal Palace and one of the foremost champions of British music at the time, requested an orchestral work after seeing a manuscript of one of her string quartets. She sent him the Serenade in D, her first orchestral work. The composition was first performed under Manns at the Crystal Palace on 26 April 1890. Several months later, he performed her Overture to Shakespeare's Antony and Cleopatra. While the Serenade in D appears to have been well received at the time, it has not been performed much since then. Smyth's Serenade in D is in four movements, though, unlike traditional symphonies, there is no slow movement. The outer allegro movements are in sonata-form while the inner two are ternary allegro and allegretto movements. The orchestration is sparse by [End Page 660] late nineteenth-century standards: 2 flutes (flute 2 doubles on piccolo at times), 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and five-part strings (including contrabasses). While Snyder suggests that Smyth chose the title Serenade based on the lack of a slow movement, the composer's program notes clearly explains her rationale: "The claim of the work to the title 'Serenade,' lies chiefly in the fact that the prevailing character of its four movements may be described as respectively lyrical and humorous; and the intention is further carried out in the composition of the orchestra (without trombones) and the dimensions of each individual movement" (p. xv and Plate 1). Locating and identifying the manuscript required significant detective work. Snyder corresponded with Smyth's estate, Universal Edition, librarians, and fellow Smyth...