John T Brobeck

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Scholarly Contributions

Journals/Publications

• Brobeck, J. T. (2016). "A Music Book for Mary Tudor, Queen of France". Early Music History, 35, 93 pp..
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  AbstractIn 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirror the decoration of a book of hours given by Louis to Mary and the content of her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s 12-voiced canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.
• Brobeck, J. T. (2016). A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE. Early Music History, 35, 1-93. doi:10.1017/s0261127916000024
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  Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.
• Brobeck, J. T. (2014). "Sermisy, Claudin de". Grove Music Online.
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  Revised version of article I wrote for Grove Music Online in 2001 (rev. 2009).
• Brobeck, J. T. (2012). Antoine de Fevin and the Origins of the 'Parisian Motet'". Collection "Epitome musical", 285-298.
• Brobeck, J. T. (2009). "Richafort, Jean". Grove Music Online.
• Brobeck, J. T. (2009). "Sandrin, Pierre". Grove Music Online.
• Brobeck, J. T. (2009). "Sermisy, Claudin de". Grove Music Online.

Presentations

• Brobeck, J. T. (2020, spring). "The Splendor of Dresden". Bach Festival,. San Luis Obispo, CA: Cal Poly University.
• Brobeck, J. T. (2020, spring). An Introduction to the B Minor Mass of J.S. Bach. Bach Festival. San Luis Obispo, CA: Cal Poly University.
• Brobeck, J. T. (2019, July). Jean Mouton's Early Motet Style Revisited. Annual 2019 Medieval-Renaissance Conference (Med-Ren). University of Basel, Basel, Switzerland: University of Basel.
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  Revised version of paper presented at annual meeting of Rocky Mountain Chapter of American Musicological Society at UTEP in El Paso, TX, in March 2019. The paper presented in Basel was invited by the conference organizers, as part of a series of papers honoring Professor Herbert Kellman (Emeritus Professor, University of Illinois).
• Brobeck, J. T. (2019, March). Jean Mouton’s Early Motet Style Revisited. Rocky Mountain Music Scholars Conference (AMS, SMT, SEM). UTEP, El Paso TX: American Musicological Society.
• Brobeck, J. T. (2017, 2017-04-07). Compositional Process and Diatonic Ficta in Three Experimental Motets Composed Between 1514 and 1519. Rocky Mountain Music Scholars Conference. University of Utah, SLC Utah: Rocky Mountain Chapter of the American Musicological Society.
• Brobeck, J. T. (2016, April 22-23). "Jean Mouton and the French Court Motet". AMS/SMT/SEM Rocky Mountain Annual Regional Conference. University of New Mexico, Albuquerque, NM: American Musicological Society.
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  scholarly presentation
• Brobeck, J. T. (2016, March 31-April 2). "Some Observations on the Nature and Projection of Roman Authority in European Sacred Music, c. 500-1500". 50th Anniversary Meeting of the Medieval Assoc. of the Pacific. UC Davis, Davis, CA: Medieval Assoc. of the Pacific.
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  Scholarly paper
• Brobeck, J. T. (2015, 10-06). “Fons et origo: Rome and the Development of European Sacred Music, c. 500-1650”. Conference “Rome and Its Receptions". Kiva Auditorium, Student Union UA: UA College of Humanities, Classics.
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  Abstract:Although for music historians the phrase fons et origo has a particular significance thanks to its use by the noted music theorist Johannes Tinctoris in 1476 to describe the English origins of the Contenance angloise (a musical style popular on the Continent during the first half of the fifteenth century), even a cursory overview of the history of European art music during the Middle Ages and early modern period reveals that the term may be applied with equal justice to the much broader and more pervasive influence of Roman musical thought and patronage upon the central development of music in Europe. One can find descriptions of the specific artistic contributions of Roman musicians and thinkers during this period in any music history textbook, since the role played by theorists such as Boethius and musicians such as Guillaume Dufay and Giovanni Pierluigi da Palestrina has been well documented. This paper does not focus upon the techniques per se these men used to create or describe Roman music, however, but rather upon what their compositional approach indicates about the aesthetic goals that motivated them to create, and the institutional priorities that fostered and shaped musical creation in Rome from about 500 CE through the early seventeenth century. This examination of the character of Roman music and the uses to which was put suggests that the intellectual but essentially conservative nature of much Roman musical thought during this period was consciously cultivated by the Roman Catholic church in an attempt to project its authority and temporal power through the invocation of Divine authority.
• Brobeck, J. T. (2014, fall). Jean Mouton and the French Court Motet. Eighth Critical Studies Colloquium, School of Music, UA. School of Music: CMT School of Music.
• Brobeck, J. T. (2014, summer). Jean Mouton and the French Court Motet. 42nd Medieval and Renaissance Conference. University of Birmingham, Birmingham, UK: University of Birmingham.
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  Analysis of the over 130 motets attributed to Jean Mouton leaves little doubt that his cultivation of a flexible, text-sensitive approach to motet composition in some 23 four-voiced works helped lay the groundwork for the “syntactic” motet style favored by his successor Claudin de Sermisy and contemporaneous royal court musicians active during the reign of King Francis I (r. 1515-47). Evidence in support of this supposition may be drawn from works such as Illuminare illuminare Ierusalem, Amicus Dei Nicholas, Felix namque, Noe noe noe psallite noe, and Miseremini mei saltem, all of which were first published in volumes of Petrucci’s Motetti de la corona in 1519. Although it is clear that the central composer of the French royal court between 1510 and 1520 actively contributed to the development of the “syntactic” motet, however, the exact role he played in this development has yet to be determined. And tracing his role is rendered difficult by the extant sources of his motets, the great majority of which were created either at the very end of his life or posthumously. No source of his motets predates 1504.Some preliminary hypotheses concerning both Mouton’s role in the development of the “syntactic” motet and the overall development of the French court motet during the first two decades of the sixteenth century are suggested by stylistic analysis of the relatively small group of motets attributed to Mouton that can be dated prior to 1515 through textual references or their appearance in early sources (RISM 15041 and 15052, the earliest layers of VatS 46 [1508-14], and RISM 15141). Analysis of the 23 motets showing elements of “proto-syntactic” or “syntactic” style and a handful of additional motets appearing in these early sources suggests that Mouton did not settle into the style found in the group of 1519 motets until shortly before 1514, approximately when Illuminare illuminare was copied into VatS 46. This evidence, when taken in conjunction with analysis of comparable works by contemporaneous court composers, suggests that Mouton did not fully embrace the method of composing found in Illuminare illuminare Ierusalem until late in his career, after the death of Févin and possibly not until shortly before the death of Anne of Brittany and his move into the chapelle du roi. Moreover, it is very striking that despite the relatively close time span separating the earliest Mouton motet sources from his death (only eighteen years), the extant early sources do seem to present a clear progression of stylistic development within the four-voiced free motets, which could indicate that his compositional approach changed rapidly between ca. 1500 and 1514, and was not the result of a long development stretching back into the late fifteenth century.
• Brobeck, J. T. (2009, Fall). German romantic organ music. Pre-concert talk, Mahoney Series UA. Rm. 146 School of Music.
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  Individual Presenter
• Brobeck, J. T. (2009, Spring). Problems of Musica ficta in the Missa Mijn hert altijt heeft verlanghen of Mathieu Gascongne (fl. 1511-35). Annual Regional Meeting of the Rocky Mountain Chapter of the American Musicological Society. Univ. of Colorado, Boulder COL.
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  Individual Presenter
• Brobeck, J. T. (2009, Summer). Beethoven's Violin Sonatas. St. Andrew's Bach Society. St. Andrew's Episcopal Church, Tucson.
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  Individual Presenter
• Brobeck, J. T. (2008, Spring). Music and Musicians at the Court of Henry II of France: A Preliminary Report. Annual Meeting of the Rocky Mountain Chapter of The American Musicological Society. Utah State University, Logan UT.
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  Individual Presenter
• Brobeck, J. T. (2008, Spring). The Organ Music of Johannes Brahms: Notes on the Genesis and Performance of His Compositions. American Guild of Organists Region IX Annual Conclave. First United Methodist Church, Tucson.
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  Individual Presenter
• Brobeck, J. T. (2008, Summer). An Introduction to the B Minor Mass of J.S. Bach: The Argument for One-on-a-Part. Pre-concert lecture on Bach's B Minor Mass & one-on-a-part performance. St. Andrew's Episcopal Church, Tucson.
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  Individual Presenter
• Brobeck, J. T. (2008, Summer). Music and Musicians at the Court of Henry II of France (r. 1547-59). Annual Medieval/Renaissance Conference. Bangor University, Bangor, Wales, UK.
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  Individual Presenter
• Brobeck, J. T. (2007). Antoine de Fevin and the Origins of the Parisian Motet. Conference Proceedings for "The Motet Around 1500" Intern'l Conf.Epitome musical series, CESR, Tours, France.
• Brobeck, J. T. (2007, 11/07/07). A Missing Portrait and Mathieu Gascongne's Canonic Motet Ista est speciosa: New Evidence for a Reinterpretation of the Origins of Pepys MS 1760. Annual Meeting of the American Musicological Society. Quebec, Canada.
• Brobeck, J. T. (2007, 3/31/07). Antoine de Fevin and the Origins of the "Parisian Motet". On the Relationship of Imitation and Text Treatment? The Motet around 1500. International Musicological Conference. University of Wales, Bangor, Wales, UK.
• Brobeck, J. T. (2007, 3/9/07). A Missing Portrait and Mathieu Gascongne’s Canonic Motet Ista est speciosa: New Evidence for a Reinterpretation of the Origins of Pepys MS 1760. Annual Meeting of the Central Renaissance Conference. San Antonio, TX.
• Brobeck, J. T. (2006, 1/11/06). Around Bach: Music by Sons, Students, and In the Bach Spirit. Rexion IX Mid-Winter Conclave, American Guild of Organists. UNLV, Las Vegas, Nevada.
• Brobeck, J. T. (2006, 10/25/06). Luther's A Mighty Fortress: From Battle Hymn to Emblem and Back Again. Academy of Faith Lecture series. Trinity Pres. Church, Tucson.
• Brobeck, J. T. (2006, 3'31'06). A Missing Portrait and Mathieu Gascongne’s Canonic Motet Ista est speciosa: New Evidence for a Reinterpretation of the Origins of Pepys MS 1760. Annual Meeting Rocky Mountain Chapter American Musicological Society. University of Denver.
• Brobeck, J. T. (2005, 4/8/05). "Petit Enfant, mon frere et mon amy: New Light on the. Annual Meeting Rocky Mountain Chapter American Musicological Society. NAU, Flagstaff.
• Brobeck, J. T. (1998, July 1, 1998). The Genesis and Structure of Haydn's Creation. Pre-Concert Talk. Crowder Hall, SOMD.
• Brobeck, J. T. (1997, April 27, 1997). The St. John Passion of J.S. Bach. Concert of The Collegium Musicum of The U of A. Northminster Presbyterian Church, Tucson.
• Brobeck, J. T. (1997, March 15, 1997). Style and Authenticity in the Motets of Antoine de Fevin. Annual Meeting of the Rocky Mountain Chapter of The American Musicological Society. The University of Colorado, Boulder, CO.

Creative Performances

• Brobeck, J. T. (2023. Evensong: Rejoice in God. concert/worship service. Tucson: Northminster Presbyterian Church.
• Brobeck, J. T. (2023. Excerpts from Part 1 of Handel's Messiah. concert/worship service. Tucson: Northminster Presbyterian Church.
• Brobeck, J. T. (2023. Excerpts from Parts 2-3 of Handel's Messiah. concert/worship service. Tucson: Northminster Presbyterian Church.
• Brobeck, J. T. (2023. Joseph Martin's The Weeping Tree Tenebrae Cantata. concert/worship service. Tucson: Northminster Presbyterian Church.

Creative Works

• Gascongne, Mathieu; Bärenreiter; October
• Program notes for Interpreti Veneziani concert; UA Presents; October
• Sermisy, Claudin de [works list and bibliography]; Macmillan; October; (exported to text file)
• The Music of Mathieu Gascongne (fl. c. 1510-1535); Music Edition; October; The first Collegium Musicum concert this year (10/26/03) consists almost entirely of music I have transcribed from original sources that was written by the French Renaissance composer Mathieu Gascongne (fl. 1510-1535). Thusfar I have transcribed his Missa Myn hert altyt heeft verlanghen, two motets, and three chansons (I was able to use modern editions of three additional chansons). This is part of a larger project to publish the entire works of Gascongne (AR Editions?).
• Program notes for The English Concert, Andrew Manze, Director; UA Presents; October; [sample of notes] The English ConcertAndrew Manze, Director and Violin SoloistProgram:C.P.E. Bach Symphony No. 3 in F Major, Wq. 183Carl Philipp Emanuel Bach (b Weimar, 8 March 1714; d Hamburg, 14 Dec 1788 ), the second surviving son of Johann Sebastian Bach, was born in Weimar and received his musical education from his father while the family lived in Cöthen and Leipzig. Bach's godfather was Georg Philipp Telemann (1681-1767). His first professional appointment came in 1740-41, when he became court harpsichordist of King Frederick the Great of Prussia in Berlin. Bach later claimed to have been the first to have accompanied that musically-inclined monarch in the performance of a solo sonata for flute and harpsichord. His tenure at the court, however, was often unhappy. While there he began to be afflicted by gout, and he never received from the king the recognition showered upon colleagues such as Hasse, Graun, Quantz, and Agricola. Moreover, his emotional style of performance was severely criticized by other court musicians. In his Essay on the True Art of Playing Keyboard Instruments (1753) Bach stated that music's main aims were to touch the heart and to move the affections; to do this, he specified that it was necessary to play from the soul (-aus der Seele'), and argued that the performer had to place himself in the same emotional state as he wished to arouse in his hearers. This “sensitive style” (Empfindsamer Stil ) of composing, which emphasized immediacy of emotional response over intellectual appreciation, dominated Bach's keyboard sonatas of the 1760s. In the following decade it led him into ever stronger emotional expression, leading some scholars to associate certain of his late works with the highly charged “Storm and Stress” (Sturm und Drang) movement of the 1770s, a movement that also touched both Haydn and Mozart.Bach gradually distanced himself from court life in Berlin and increasingly mingled in private musical circles sponsored by other members of the nobility, including the diplomat Baron Gottfried van Swieten, through whom his music traveled to Vienna and thus Haydn and Mozart. The importance of such circles greatly increased after 1756, for the outbreak of the Seven Years War meant that Frederick visited Berlin only occasionally. The war brought with it conditions of great austerity for the people of Berlin, and salaries were paid in paper money which had only a fifth of its supposed purchasing power. Thus it is not surprising that after Telemann's death in June 1767 Bach applied for and succeeded his godfather as Latin school teacher and music director of the five city churches in Hamburg, a position much like the one his father held in Leipzig from 1723-50. Bach found the more open atmosphere of Hamburg refreshing and stimulating, and his social and economic position was much more secure there. In addition to heavy composing and performing responsibilities for the churches (almost 200 performances a year), he initiated a series of public concerts in April 1768. Most of these concerts were held between 5 p.m. and 8 p.m. on Monday evenings in public halls. The repertory was highly varied, but emphasized first performances and revivals of works by German composers. He also accepted composing commissions, including one from van Swieten in the early 1770s for a set of six string symphonies. Though he stopped playing the keyboard in public during the final years of his life, Bach fulfilled his church responsibilities conscientiously until the end. He died on 14 December 1788 of a “chest ailment” and was buried on 19 December in the crypt of the Michaeliskirche.Bach's serious interest in the symphony began during his tenure in Berlin (9 string symphonies, some with added “filler” wind parts) and culminated in Hamburg with the composition of four “Orchestral symphonies with twelve obbligato parts” (Wq. 183), works composed for the public concert series. Like other composers of the “Berlin School,” Bach composed symphonies in three movements, fast-slow-fast, an organization perhaps derived from the Baroque concerti of Vivaldi and Torelli or Sammartini's three-movement opera sinfonias. The symphonies cover a wide range of late Baroque and early classical styles, and one finds in them old style fugal passages, melodic Fortspinnung, and concerto grosso techniques juxtaposed with procedures associated with sonata form. The surprise effects so characteristic of Bach's musical composition are often created in the symphonies through masterful reworking of short motives and groups of motives, a bold treatment of dissonance and modulations (with frequent seventh and ninth-chords), and vigorous rhythms. The four late symphonies catalogued by Alfred Wotquenne as number 183 of the Bach complete works were written in 1775-76, and were subsequently published in 1780 with a dedication to Crown Prince Friedrich Wilhelm of Prussia. They were virtually the only symphonies of Bach whose parts were published in his lifetime, and we know from his letter to the Leipzig publisher Breitkopf and Härtel that he was very proud of them. They represent a real advance for the composer in terms of their scoring, which included not only the usual complement of strings and basso continuo, but also obbligato paired flutes, horns, and oboes. Bach could count on excellent performances for these works, which presumably he led from the keyboard. A published report on a rehearsal of the late symphonies in August 1776 noted that he had at his disposal forty professional musicians of Hamburg, as well as some talent amateurs “who rendered these incomparable and unique symphonies with great vigor and precision.”The first movement of Symphony no. 3 in F Major (Allegro di molto) presents a cornucopia of styles and techniques. The work opens in dramatic “Storm and Stress” fashion, with unison writing, jagged dotted rhythms and descending sevenths, ascending sequences, intense trills, and pregnant pauses. By measure 8, however, the drama has dissipated into a fairly conventional “scrubbing-board” theme consisting of running 16th notes and ascending C major triads. After a cadence on the tonic in m. 22 an episodic passage featuring the winds and more lyrical melodies appears, until it is cut off by the reintroduction of the rushing sixteenths. The movement proceeds like a Baroque concerto, alternating ritornelli dominated by the unison opening figure or the sixteenths with short lyrical episodes featuring the winds. The impending end of the movement is signaled by the return of the opening material in the tonic, but Bach does not conclude the movement conventionally. Rather, he drops abruptly into a diminished seventh sonority in quiet dynamics and slow tempo that leads directly into the lyrical and almost operatic second movement in D Minor (Larghetto). The second movement concludes with a half cadence on the dominant that leads immediately to the third and final movement (Presto). Bach brings his symphony to a joyful and satisfying conclusion with a dance-like binary form that alternates the even eighth-notes of a peasant dance with the rollicking triplets of a gigue.
• Jacotin [Lebel]; Barenreiter; October; Die Musik in Geschichte und Gegenwart; Invited encyclopedia article on life, musical output, works, and bibliography of the early 16th century French composer Jacotin Lebel.
• "Sandrin"; Macmillan; October; New Grove Dictionary of Music, Rev, ed.; Encyclopedia article written 1998, published online and in print 2000.
• "Braconnier, Jean"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Article written 1998; published online and in print 2000.
• "La Fage, Jean de"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Article written 1998; published online and in print 2000.
• "Le Brung, Jean"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Encyclopedia article written 1998, published online and in print 2000.
• "Richafort, Jean"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Encyclopedia article written 1998, published online and in print 2000.
• "Vermont, Pernot"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Encyclopedia article written 1998, published online and in print 2000.
• "Vermont, Pierre"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Encyclopedia article written 1998, published online and in print 2000.
• "Belin, Guillaume"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; Encyclopedia article written 1998; published 2000 both online and in print.
• "Sermisy, Claudin de"; Macmillan; October; New Grove Dictionary of Music, Rev. ed.; The body of this article was written in early 2000; the works list and bibliography were submitted to OPAL in 1999. Article published online and in print fall 2000.
• CD recording of dedication concert for Roy Johnson Memorial Organ, Northminster Pres. Church; local recording/copying; March; (exported to text file)
• Richafort, Jean; Macmillan; March; (exported to text file)
• Sandrin [Regnault], Pierre; Macmillan; March; (exported to text file)
• Through the Vine; March; I was commissioned to compose a hymn to celebrate the 50th anniversary of Northminster Pres. Church. I wrote 3 settings for a text by author/poet Carl Daw Jr., of which the church Worship Comm. selected one. This was premiered at my solo organ recital 3/18/01 and was sung several times following in worship services.
• The Life and Works of Claudin de Sermisy; March; Program notes for performance in Los Angeles of the professional vocal ensemble "Voice XXI", conducted by Jesse Parker. The conductor asked for notes on Claudin's biography, his relationship to the French royal court, and observations about the repertory performed in the concert, which included motet "Domine quis habitabit" and the Mass by Claudin based upon that motet; a Magnificat; and 2 chansons by Sermisy.
• A Brief Biography of J.S. Bach; A Highly Select Annotated Reading List of Sources Concerning the Life and Music of J.S. Bach; March; Published by St. Phillip's in the Hills Episcopal Church and the Arizona Early Music Society as part of a booklet of Bach essays accompanying their 12th Annual Bach Festival.
• La Fage, Jean de; Barenreiter; March; Die Musik in Geschichte und Gegenwart; Invited encyclopedia article on life, musical output, works, and bibliography of the early 16th century French composer Jean de La Fage.
• Moulu, Pierre; Barenreiter; March; Die Musik in Geschichte und Gegenwart; Invited encyclopedia article on life, musical output, works, and bibliography of the early 16th century French composer Pierre Moulu.
• Lafarge, Pierre de; Barenreiter; March; Die Musik in Geschichte und Gegenwart; Invited encyclopedia article on life, musical output, works, and bibliography of the early 16th century French composer Pierre de Lafarge.
• Faculty artist series; KUAT; June; Music at Northminster, Vol. 1: Organ Favorites; This is a CD recording made by KUAT of solo organ music performed on the Roy A. Johnson Memorial Organ of Northminster. Recording made May 2000; publication tba. The contents of the CD including the following works: Great is the Lord! Michael W. Smith, arr. Keith Christopher; Toccata and Fugue in D Minor, BWV 565, J.S. Bach(1685-1750); Scherzo,Eugéne Gigout (1844-1925); Cortège et Litanie,Marcel Duprè (1886-1971), arr. Lynwood Farnum (1885-1930); Berceuse, from 24 Piéces en style libre, Louis Vierne (1870-1937); Carillon de Westminster, from Piéces de Fantasie, 3me Suite, Louis Vierne; Festival Prelude, Opus 66, no. 1, Horatio Parker (1863-1919); Liebster, Jesu, wir sind hier, BWV 731, J.S. Bach (1685-1750); “Gigue” Fugue in G Major, BWV 577, J.S. Bach; The Stars and Stripes Forever (with Elizabeth Rosenblatt, Piccolo), John Philip Sousa (1854-1932), arr. by E. Power Biggs (1906-77); Adagio and Toccata from Symphonie V, Charles-Marie Widor (1844-1937)
• Bach Lives! Bach's Mass in B Minor; St. Andrew's Bach Society; June 2008; Program notes
• Beethoven's Sonatas for Violin and Piano; St. Andrew's Bach Society; August 2009; Program notes; Program notes for performance of 10 Beethoven violin sonatas by Paula Fan and Steven Moeckel over 3 concerts (Tues 8/4/09, Fri 9/7/09, Sun 8/9/09). Notes totaled 3720 words (appr. 12 double-spaced pages).