Great clarinet virtuosi have always been involved in the expansion of the repertoire for their instrument. In some cases they were themselves gifted composers--a good example being Franz Tauch--but their greatest contribution by far has been their ability to inspire other, better composers to devote the time and creative energy necessary to the composition of major works for an instrument not usually thought of as a major solo medium. Johann Simon Hermstedt's collaboration with Louis Spohr is a lesser known example of such composer-clarinet virtuoso partnerships which have included, among others, Mozart and Stadler, Weber and Baermann, and Brahms and Muehlfeld.

Though the Danish composer, Carl Nielsen, has become familiar to most of us only through his symphonic output, he was a gifted composer of other genres including chamber music, keyboard music, concertos, vocal music, and lesser orchestral works. His music is well-known throughout Scandinavia, but has not received widespread recognition elsewhere, though much of it could be a valuable addition to the repertory of Western musicians. In view of this fact, the author will outline Nielsen's output and style with special emphasis on his violin music and its appropriateness for performance.

The purpose of this paper is to document the results of the research required to conscientiously prepare a performance of The Diary of One Who Vanished, by Leos Janacek. Too often, vocalists and instrumentalists alike find themselves in a performance not knowing the bare essentials needed to produce an acceptable performance. Research is necessary in the following areas: life history of the composer as well as historical and political conditions of his surroundings, compositional style of the composer and specific tools which he used in the composition of the music to be performed and, if the composition is vocal, a thorough investigation of the text. Only after a complete study in these areas can a performance of any music be intelligently given.

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Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure during his lifetime, and he gave just one public concert of his works, on March 26, 1828 in Vienna. According to Hans Gal: "In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."

Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be regarded as a work that promises a greater talent than it displays.

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The Eight Songs for a Mad King lends itself very nicely to the analysis of the various Sprechstimme and "extended vocalism" techniques. Peter Maxwell Davies uses all the conventional Sprechstimme techniques as well as vocal sounds and notation of his own design. By explaining and illustrating these techniques before the performance of the work, the audience can gain additional insight into and understanding of the performance. The historical aspect of the text used in the Mad King is also of interest to the listener. The poems were inspired by a small mechanical organ supposedly once owned by King George III and which played eight tunes. A scrap of paper sold with the organ explains that "This organ was George the third for Birds to sing". The songs are understood to be his monologue while listening to his birds perform. The text incorporates many sentences actually spoken by George III in both his sane and insane moments.

Though there has long been debate concerning the dating and the inception of the Serenade for Thirteen Instruments in B Flat Major, K. 370a (K. 361), the greatest inquiry has arisen in this century with the public discovery and examination of the autograph score. Coincidental with traditional Mozart scholarship has been that which finds parallels in the wind band movement of this country encompassing the past twenty-five to thirty years. With the growing importance of the wind ensemble and its capacity to perform literature of various instrumentations, many contemporary scholars from the U.S. as well as Europe have responsibly probed questions directly related to early wind music, particularly the period of the late eighteenth century. Notable among these are Frederick Fennell, David Whitwell, Daniel Leeson and Neal Zaslaw of the United States, and Marius Flothuis, Erik Smith, and Roger Hellyer of Europe. Through their efforts much new information has come to light which both changes the perspective by which certain works have come to be viewed, and the very nature of performance practice itself. Indeed, the current deepening involvement with the wind ensemble approach in our colleges, universities, and even selected high schools, demands that solid historical inquiry be made concerning all early wind literature. Only in this way will wind players, conductors, and eventually the listening public become conscious of the aesthetic value of this music in our society. The Serenade in B Flat, despite the ambiguity surrounding its inception and the accuracy of the various manuscript and printed editions, is a vital staple in the repertoire of the wind band as well as that of the orchestra. In that it comes from the pen of Mozart's maturity and constitutes such an extensive display of imaginative writing within its seven movement span, the unreserved attention it receives in performance is easily matched by its musicological significance. This paper attempts to examine in general terms the period of harmoniemusik, Mozart's contributions to this genre, as well as the critical aspects of K. 370a in some detail. Included in the Appendices is a chronological list of owners of the autograph score, a survey list of Mozart's strictly wind works, a formal analysis of K. 370a, and a complete harmonic analysis of the Neue Mozart Ausgabe (NMA) score. Frequent use of the following abbreviations should be noted: AMA = Gesammtausgabe Mozart's Werke (1878 -1905); NMA = Neue Mozart Ausgabe (1955 and on); K1, K3, K6, K7 = respective Köchel catalogue editions. The use of Köchel numbers is in accordance with the latest major revision of the catalogue, namely, the sixth edition; older Köchel numbers appear in brackets. A comparison of Köchel equivalents between K1, K3 and K6 is given in Appendix A.

Mexico, a land of contrast and mystery, was the birthplace of the two composers included in this study. These two composers were chosen for several reasons: the two men represent the enigma of the country that influenced their development and each of them molded Mexico's popular musical heritage into a classical format. Miguel Bernal Jiménez was considered in 1941 as the most brilliant composer of Catholic Mexico; Silvestre Revueltas received the title of Mexico's greatest composer, yet today the composers are almost unknown in the United States. Arizona, and Tucson in particular, are situated so near to Mexico that it is important to become aware of that country's varied musical heritage in the classical idiom, as well as its other cultural and historical aspects. As a resident in Mexico for three years with a previously acquired interest in Latin American music, the writer became increasingly involved in study of the music. Her residence laid a foundation for research into these two composers. When the Orquesta Sinfónica del Estado de México, one of Mexico's major symphony orchestras based in Toluca near Mexico City, made a nationwide tour of the United States in June 1975, Revueltas' orchestral composition Sensemayá received several performances. The Tucson Symphony also performed Sensemayá in 1979 with Dr. George Trautwein conducting. The writer found this work to be fascinating and she wondered if Revueltas had written works for cello; with research she found that he did not write for cello solo, but that he composed for string quartet. The writer first encountered the Cuarteto Virreinal by Miguel Bernal Jiménez when she performed the work from manuscript with a professional string quartet sponsored by Patrimonio Cultural in Toluca, Mexico. The work is a pleasant combination of classical and Mexican qualities; the writer decided that someday she would like to perform it for audiences in the United States.