UNIVERSITY OF CALIFORNIA Los Angeles Adolf Busch and the Saxophone

82 Pages·2013·3.57 MB·English

by  Carol Veirs

UCLA
UCLA Electronic Theses and Dissertations
Title
Adolf Busch and the Saxophone: A Historical Perspective on his Quintet, op. 34
Permalink
https://escholarship.org/uc/item/6cz1t09s
Author
Veirs, Russell
Publication Date
2013

Peer reviewed|Thesis/dissertation
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University of California
UNIVERSITY OF CALIFORNIA
Los Angeles

Adolf Busch and the Saxophone:
A Historical Perspective on his Quintet, op. 34

A dissertation submitted in partial satisfaction
of the requirements for the degree
Doctor of Musical Arts

By

Russell Dewain Veirs

2013
© Copyright by
Russell Dewain Veirs
2013
ABSTRACT OF THE DISSERTATION

Adolf Busch and the Saxophone:
A Historical Perspective on his Quintet, op. 34

by

Russell Dewain Veirs

Doctor of Musical Arts
University of California, Los Angeles, 2013
Professor Gary Gray, Co-Chair
Professor Douglas Masek, Co-Chair

Adolf Busch, well-known as a violinist, contributed a major work to the saxophone‟s
chamber repertoire in 1925 while living in Germany. This piece, Quintet, op. 34 for alto
saxophone, two violins, viola, and cello, lay hidden until many decades later when it resurfaced
for performance in the United States. Busch‟s use of the saxophone was advanced for the time,
and his inclusion of the instrument in a quintet with strings was unique.
Scattered information regarding the genesis of the piece, its advanced use of the
saxophone at the time, and the discrepancies between the published score and parts all called for
exploration. This study investigates the sparse history of the piece, using numerous primary and
secondary sources, and offers performance suggestions so that today‟s saxophonist can deliver a
performance reflecting the musical life surrounding the instrument at time of its composition.
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Included is a brief biography of the composer, a discussion of the factors that likely influenced
the quintet, an investigation of the work‟s structure, descriptions of the unpublished editions of
the piece, and an examination of Busch‟s meticulous revision process for this piece.

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The dissertation of Russell Dewain Veirs is approved.

Jennifer Judkins
Antonio Lysy
James Newton
Gary Gray, Committee Co-Chair
Douglas Masek, Committee Co-Chair

University of California, Los Angeles
2013

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Dedication
I would like to dedicate this paper to my family. They have helped push me through all of
my studies, performances, and research that ultimately made this project possible.

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Table of Contents
Introduction 1
Chapter I. An Overview of the Early Saxophone Repertoire 4
Chapter II. A Brief Overview of Jazz in Germany in the 1920s 8
Chapter III. Adolf Busch and his Quintet, op. 34 11
A Brief Biography of Adolf Busch 11
Compositional Influences 14
Structural Analysis 19
Chapter IV. Editions and Revisions 28
Existing Editions of Quintet, op. 34 28
Interpreting Busch‟s Revisions 34
Chapter V. Innovation and Performance Practice 45
Innovative Writing for the Saxophone 45
General Performance Considerations 48
Conclusion 58
Appendix A – Suggested Note Changes 62
Appendix B – Available Recordings 67
Bibliography 68
Additional Resources 71

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Acknowledgements
A number of people have assisted me with my research and the compilation of this
project. Thank you to my committee members Professor Gary Gray, Dr. Douglas Masek, Dr.
Jennifer Judkins, Professor Antonio Lysy, and Professor James Newton. Again, thanks to Dr.
Masek for much encouragement and support throughout my time at UCLA and during the
research and writing of this paper. Special thanks to Tully Potter, Carina Raschèr, Jürgen
Schaarwächter, Heidy Zimmermann, Peter Serkin, Walter Ponce, Jonathan Angel, and Jennifer
Loux for providing me with invaluable information and/or pointing me toward sources during
my research. This project would not have been possible without all of your help. I want to thank
Dr. Robert Winter for his continued help, interest, and encouragement during my studies at
UCLA. Thank you to Dr. Mark Carlson and Dr. Elisabeth Le Guin for feedback on my research.
Thank you to Cindy Hollmichael at the UCLA Young Research Library for the extensive
assistance in tracking down and obtaining sources for this study. Thank you to the Marlboro
Music Festival for allowing me to reproduce the program from the premiere of Busch‟s Quintet,
op. 34. Thank you to the Max Reger Institute for providing me with access to Adolf Busch‟s
autograph score and the copyist‟s score. Thank you to the Paul Sacher Foundation for permission
to reproduce musical examples and pages from Adolf Busch‟s autograph score and the copyist‟s
score. Thank you to Edition Tonger for permission to reproduce musical examples from the
published edition of Quintet, op. 34 for this study.

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Vita

2002 A.A.
Diablo Valley College
Pleasant Hill, California

2006 B.A., Music
University of California, Davis
Davis, California

2007-2008 Scholarship Recipient
CSUS Department of Music
California State University, Sacramento
Sacramento, California

2008 M.M., Music
California State University, Sacramento
Sacramento, California

2009-2012 Scholarship Recipient
UCLA Department of Music
Los Angeles, California

2011 All-Star Soloist
UCLA All Star Concerto Competition
Los Angeles, California

2011 Teaching Assistant
UCLA Department of Music
Arts and Architecture 10 (Arts Encounters)
Los Angeles, California

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