Dudley Buck: Selected Organ Works (Recent Researches in American Music, Volume 63)
(One of Victorian America's most beloved and respected com...)
One of Victorian America's most beloved and respected composers, Dudley Buck played a crucial role in the coming of age of American music following the Civil War. This volume of his most popular organ works is the first scholarly edition of these pieces. A conductor, organist, and teacher, Buck was the first American to write professional, accessible, and popular organ music, as well as a wealth of choral music, including anthems, cantatas, and partsongs. (See also MU 14 for a selection of these works.) N. Lee Orr's careful, authoritative edition presents Buck's two organ sonatas and four concert variations, introduced by an informative essay on Buck's life and the development of American organs and organ music.
Buck's New and Complete Dictionary of Musical Terms (Classic Reprint)
(Excerpt from Buck's New and Complete Dictionary of Musica...)
Excerpt from Buck's New and Complete Dictionary of Musical Terms
Duo. (ita.) A composition for two voices or instruments; a duet; among old teachers, a composition written in the strict style, in contrast with duetto, a more free style.
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New and Complete Dictionary of Musical (Classic Reprint)
(I ta.) To, for, by, at; the alphabetical name given to th...)
I ta.) To, for, by, at; the alphabetical name given to the sixth note of the scale of Cin ascending, and termed La; the open note of the second string of the violin, by which its other strings are tuned and regulated; the name of one of the two natural modes. A 2. (to.) For two voices or instruments; A 8, for three voices; A 4, for four voices; and so on. A bandono ed Expressione, Con. (7te.) With self-abandon and expression. A bendlied. (C rer.) Evening song or hymn. A ccel, (a.) An abbreviation of A ccelerando. A ccelerando. (I ta.) With gradually-increasing velocity of movement. A ccent. A stress or emphasis upon a note or passage, to mark its place and relative importance in a composition. A ccidentals. Sharps, flats, and naturals used to change the sound of letters, as the chord, of which these letters are a part, may require. They affect the sound of the letters upon which they are set no farther than the compass of the bar in which they are enclosed. A ccom. ad Lib. An abbreviation of Accompaniment ad libitum.
(Typographical errors above are due to OCR software and don't occur in the book.)
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The Centennial Meditation Of Columbia: A Cantata For The Inaugural Ceremonies At Philadelphia, May 10, 1876
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This work has been selected by scholars as being cultur...)
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Legend of Don Munio: A Dramatic Cantata, Op. 62 (Classic Reprint)
(Excerpt from The Legend of Don Munio: A Dramatic Cantata,...)
Excerpt from The Legend of Don Munio: A Dramatic Cantata, Op. 62
21 solo (baritone), with chorus. A year hath passed. 144 22. Reci'i'. And aria (tenor), wrrh chorus. Full many a' long and Weary league. 149 23. Fina-le. In thankful hymns ascending. 154.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
18 Studies in Pedal Phrasing for the Organ (Classic Reprint)
(Excerpt from 18 Studies in Pedal Phrasing for the Organ
...)
Excerpt from 18 Studies in Pedal Phrasing for the Organ
Prelude. Theme with Var i Minuet 4. Elegy 5 Gwotu: p. 32. 2 murl'l'aux No. 1. La Secret, ll'amour. (diu logue.) No. 2. Valsc-impromptu p. 35. 3 Morccnux: no. 1. Danse orientale, F 2. Melodic-eludo, G 3. Dunsc bohemicnue.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Influence of the Organ in History (Classic Reprint)
(Excerpt from The Influence of the Organ in History
About...)
Excerpt from The Influence of the Organ in History
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(Buck, Dudley: Grand sonata in E flat, op. 22 Sonatas, org...)
Buck, Dudley: Grand sonata in E flat, op. 22 Sonatas, organ, no. 1, op. 22, E♭ major Eastman Scores Publishing Library Commerce This is an Eastman Scores Publishing professional reprint of the work originally published by: G. Schirmer, New York, 1866, 19pp., Sheet Music ISMN : 979-0-087-00099-4
Illustrations in Choir Accompaniment: With Hints in Registration; A Hand-Book (Provided with Marginal Notes for Reference) for the Use of Organ ... Interested in Church Music (Classic Reprint)
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Excerpt from Illustrations in Choir Accompaniment: With Hints in Registration; A Hand-Book (Provided With Marginal Notes for Reference) For the Use of Organ Students, Organists, and Those Interested in Church Music
Notwithstanding this fact, it still remains for. The student to adapt the proportions to the voices he has to accompany; for though the balance of the instrument may be correct within itself, the balance as regards the voices will constantly vary. In the accompaniment of solos, duets, quartets, etc., especial care should be exercised as to the introduction of four-foot stops.
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Dudley Buck was an American composer and organist. He is famous as a founder of American organ-music, which practically began with him.
Background
Dudley Buck was born on March 10, 1839 in Hartford, Connecticut, the son of Dudley and Martha Church (Adams) Buck, and grandson of Daniel Buck, also of Hartford. His earliest American ancestor was Emanuel Buck, who, soon after his arrival at Plymouth Colony from England, became one of the original settlers of Wethersfield, Connecticut, in 1647.
There is no evidence of musical ability in any of his immediate ancestors. His mother, however, had a deep love of poetry and it was her custom to read aloud her favorite poems to her son during his early years. Young Dudley had been destined for a business career by his father, who was a prominent shipping merchant and owner of a line of steamships plying between Hartford and New York City. But he early displayed an unusual aptitude for music, and, although he was self-taught until he was sixteen years old, he finally obtained, with some difficulty, the consent of his parents to prepare himself for a professional career in music, --a procedure directly athwart the New England prejudices of the time.
Education
In 1855 he took his first piano lessons of W. J. Babcock of Hartford, and at the same time entered Trinity College, where he remained three years. He applied himself to his music with such ardor and revealed such unmistakable talent that his father sent him to Europe in 1858 for extended study, --eighteen months (1858 - 59) at the Leipzig Conservatory with Hauptmann and Richter (harmony and composition), Plaidy and Moscheles (piano), and J. Rietz (orchestration); later at Dresden with Rietz and Johann Schneider (organ); and one year (1861 - 62) in Paris.
Career
On his return to Hartford in 1862 he was appointed organist of the North Congregational Church.
After the great fire of October 9, 1871, which destroyed his home with valuable library and manuscripts, he removed to Boston (1872) as organist of St. Paul's Church and, soon after, of Music Hall, the highest honor a Boston musician of that period could attain. In 1875 he was official organist of the Cincinnati May Festival and on his return to Boston accepted the invitation of Theodore Thomas to be assistant conductor of his orchestral concerts at Central Park Garden in New York.
He removed his family to Brooklyn and began his long musical career there as organist in various churches, while from 1877 to 1903 he was conductor of the Apollo Club (male chorus). In 1903 he resigned all positions and retired to private life, dividing his "playtime, " as he called it, between travel and composition. His death occurred at Orange, New Jersey.
His first published compositions were written to supply the needs of his own choir in Hartford. When his first Motet Collection appeared in 1864 (a second book followed later), it met with immediate success, which led him to give increasing attention, as composer, to church music. Indeed, his influence in this field was probably stronger and more lasting than in any other to which he contributed, for the needs of American Protestant church-music could not be met, as could those of choral societies and organists, by mere importation of foreign-made music.
His many excellent anthems, solos, hymns, Te Deums, etc. (there are about 140 of these) --fluent, attractive, well-constructed, and many of them of real depth and fervor--offered a refreshing contrast to the insipid and trivial music in general use in American churches of this period and produced a marked improvement in public taste.
His versatility led him to write also in the large forms: Ser pis (1895), text by himself, an unperformed grand opera on an Egyptian subject; Deseret (1880), a comic opera on a Mormon theme; "In Springtime, " a symphony; "Marmion, " a symphonic overture (first performed by the Thomas Orchestra, 1881); some chamber music, etc.
By far the most important of his large works, however, are his concert cantatas. Of these, five are for male chorus and twelve for mixed chorus. Of the former group the best probably are "The Nun of Nidaros" and "Paul Revere's Ride. " Of the latter group especial mention must be made of "The Centennial Meditation of Columbia, " written for the Centennial Exposition and performed at Philadelphia, May 10, 1876, under Theodore Thomas's direction by a chorus of 1, 000 and an orchestra of 200, by which Buck's reputation as a composer was firmly established; "The Golden Legend, " which won the prize offered by the Cincinnati May Festival Association for the best work by an American and was first performed at the Festival in 1880; "The Light of Asia, " his largest and most pretentious choral work; and "The Christian Year, " a series of five effective cantatas for the important church festivals.
Mention must be made of his wide influence as a teacher, for he was the direct source of inspiration to a large number of pupils.
In his religious affiliation Dudley Buck was a Episcopalian, therefore when he went to Chicago in 1869, he worked as an organist at St. James's Episcopal Church.
Personality
In disposition he was genial and warm-hearted; and he combined tact and practical wisdom in dealing with his public.
Connections
He was married on October 3, 1865, to Mary Elizabeth van Wagener of Burlington.