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The saxophone is privileged to have a wide variety of repertoire from contemporary composers. Due to its invention in the later half of the nineteenth century, it has no repertoire written by baroque composers, including Johann Sebastian Bach. There are several published arrangements of Bach’s three solo violin partitas including that of Ronald Caravan and Raaf Hekkema. These collections either do not present every movement of each of these three partitas, or they do not present them in their original keys. An advantage to arranging these works in their original keys is that saxophonists have the opportunity to learn more about the works by playing along with recordings of great violinists such as Itzhak Perlman and Hilary Hahn, something that would be very difficult to do if they were not in the original keys. In Ronald Caravan’s Bach for Solo Saxophone, Caravan includes a collection of many unaccompanied works by Bach for saxophone but does not include all of the movements from the three partitas and they are not in the original keys that Bach wrote for. In Raaf Hekkema’s Bach for Saxophone, Hekkema arranges the entirety of the three partitas, however they are not set in the original keys that Bach wrote for. In addition to these points, those collections do not provide information of the life of J.S. Bach, baroque performance practice, mechanics of the baroque violin, baroque dances, and advice on going about the mechanics of these pieces from a saxophonist’s perspective. This information is very useful to a young saxophonist who is trying to fully understand and perform Bach’s three solo violin partitas.
ContributorsSalazar, Nathan John (Author) / Creviston, Christopher (Thesis director) / Saucier, Catherine (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Only in recent decades have music libraries become more aware of the importance of preservation of musical scores and materials in their collections. It follows that the preservation goals in a library differ from those in a museum due to the specific purpose of the collecting institution. As a student of paper conservation in an art museum setting and a musician with classical training, I wanted to investigate the scope of art conservation as it applies to cultural heritage objects outside the realm of works of visual art in a museum—namely the musical scores and ephemera contained in the Bavicchi archive in the ASU Music Library Special Collections. The archive is a large, unexplored collection of materials pertaining to approximately ninety opuses composed by the teacher, conductor, and composer, John A. Bavicchi (1922-2012). These materials include final scores, drafts of scores, preliminary sketches, programs from performances, correspondence, news publications, publishing agreements, and financial records. Although these types of ephemera materials are transitory by nature and pose considerable problems for the institution responsible for their preservation, the goal of this project is to demonstrate the importance of preserving non-art objects related to non-visual artforms in a music library context, to show the value of musical ephemera in general, and to advocate for the care of the Bavicchi archive in particular. Using one Bavicchi composition, Opus 51, as a case study from which to develop a protocol for the preservation of the rest of the archive, I made an inventory of all seventy-four objects pertaining to Opus 51, executed and documented conservation treatment, and implemented proper housing for all objects. Making sure to consider how and where these archival materials are most likely to be used—for scholarly research in a music library—I established guidelines for evaluating condition and assigning treatment priority, provided descriptions of relevant remedial treatment procedures, and recommended rehousing and potential preservation practices. Additionally, I offered justification for my conservation work through the contextualization of the archival materials relating to Opus 51. I provided an initial musical analysis of the archival materials and compared the informational content of the Opus 51 ephemera to general information gathered from outside sources, with the intention of illustrating the need to preserve these materials in order to better understand Bavicchi’s compositional process and the public reception of his work.
ContributorsTuijl-Goode, Remi (Author) / Saucier, Catherine (Thesis director) / Mossman Tepper, Dana (Thesis director) / Mehrens, Christopher (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of Music, Dance and Theatre (Contributor) / School of Molecular Sciences (Contributor)
Created2022-12