This project was inspired by a recording of the Concertstück for Clarinet and Orchestra, op. 1 by Gustav Adolph Heinze, performed by the late clarinetist Thea King. The Concertstück was recorded on the Hyperion label by Thea King and the English Chamber Orchestra in 1988 under the direction of James Judd. With the assistance of Himie Voxman at the University of Iowa and the Grove Dictionary of Music Online, sources for this project were located. In the entry under Gustav Adolph Heinze there were two main sources used: Heinze's autobiography that was finished by his step-daughter after his death and a biography written by Klaes Sierksma. These books including the manuscript of the Concertstück were obtained through the Amsterdam Public Library. Gustav Adolph Heinze (1821-1904) was the principal clarinetist of the Gewandhaus Orchestra from 1837-1844. In 1837, Heinze composed his first work, Concertstück für Clarinette und Orchester, op. 1. By the age of 29, Heinze had composed seven works that included clarinet. Only three of the seven works that include clarinet exist today: the Concertstück für Clarinette und Orchester, op. 1; Drei Lieder, op. 23 for Mezzo-soprano, clarinet, and piano; and the Grand Quintetto, op. 22b for piano, flute, clarinet, horn, and bassoon. In 1850, Heinze moved to the Netherlands and concentrated on composing vocal music for the rest of his life. As time progressed he became an important member of the music society in Amsterdam. In 1875, Heinze became one of five founding members of the Nederlandse Toonkunstenaars Vereniging (Dutch Musicians Association) later known as the Koninklijke Nederlandse Toonkunstenaars Vereniging (Royal Dutch Musicians Association). While having appointed himself vice-president of the association he was also the headmaster of the Maatschapij tot Bevordering der Toonkunst (Society for the Advancement of Music). In his later years, Heinze began writing his autobiographical book but was not able to complete the book himself. After he died, his step-daughter Louise Westermann-Heinze finished the book. The purpose of this thesis is to provide the first extensive biography of Gustav Adolph Heinze in English as well as performance editions of the three chamber works by Heinze that include clarinet. The biography includes Heinze's life and career in Germany, his political views that led him to leave the country, and his fruitful career in the Netherlands. The second half of the thesis includes the three chosen works presented here as viable performance editions. The three manuscripts are written out clearly and legibly with editorial changes made by Heinze crossed out, but still decipherable. The three works in this project are the only known ones available to date, (of the seven small chamber works originally composed between 1837 and 1850). All background materials for this project are in Dutch and are either available through the University of Iowa libraries or from the Amsterdam Public Library. Copies of the manuscripts of the Drei Lieder, Grand Quintetto, and Concertstück fur Clarinette und Orchester, as well as the autobiography and biography by Klaes Sierksma, were sent from the Amsterdam Public Library. These sources were translated from Dutch to English. The handwriting of the German text in the Drei Lieder has been transcribed and translated by Michael Kimber.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The Birthday of the Infanta, a ballet that was created by John Alden Carpenter, Adolph Bolm, and Robert Edmond Jones, was performed at the Auditorium Theatre in Chicago on December 23, 1919 and the Lexington Theatre in New York on February 23, 1920. Despite the positive reviews from daily papers and music journals alike the ballet was only revived once and is not a part of a known ballet repertoire. Although musicologist Howard Pollack discusses The Birthday of the Infanta briefly in his biography of John Alden Carpenter my analysis serves, through its exploration of both primary and secondary sources, to create a more complete and thorough dialogue through the examination of the social, economic, political and artistic factors surrounding the ballet. This analysis also helps to create a better understanding of ballet’s place in America in the early twentieth century.

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Im März 1838 kam ein aus Schwabach in Mittelfranken stammender deutscher Pianist, Komponist und Klavierpädagoge in St. Petersburg an, um schließlich hier bis zu seinem Tode 1889 im niederschlesischen Bad Warmbrunn [poln. Cieplice ?lkaskie-Zdrój, heute Stadtteil von Jelenia Góra, dt. Hirschberg]ein namhafter Teil der russischen Musikkultur zu werden.

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I denna studie undersöks Johan Adolph Gerelius argumentation och framtidsvision gällande implementeringen av de två innovationerna cellfängelset och gasdriven belysning. Det framkommer att Gerelius använder många historiska exempel för att motivera hur innovationer bidrar till samhällelig utveckling. Vidare inspireras han mycket av England, där båda innovationerna har sitt ursprung. Han använder också flera återkommande, mycket laddade begrepp i sin argumentation, så som ”barbari” och ”upplysningens fiender”. Gerelius bedriver sin utförliga argumentation i syfte att förespråka innovationernas framtida samhällsförändrande potential. Han uttrycker en stark utvecklingsoptimism och är influerad av de liberala idéer som spreds genom Europa under tidigt 1800-tal. Denna utvecklingsoptimism leder till att Gerelius förespråkar acceptans av nya innovationer då han anser att de har stor betydelse för samhällelig utveckling. Denna utveckling bör, enligt Gerelius, ske i termer av stabilitet, bildning, förädling och upplysning. Undersökningen lägger fram en tolkning som överensstämmer med den tidigare forskningen, vilken betonar Gerelius positivism för de engelska innovationerna. Dock framhävs även att Gerelius influeras av en stark historiesyn , vilken kan ligga till grund för hans starka utvecklingsoptimism och framtidsvision.