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A. Peter Brown

A. Peter Brown
1943-2003
Tenure at the School of Music (1974-2003)
Biography  |  Works  | Past School of Music Faculty Home


Biography

                    Like many musicologists, A. Peter Brown began his academic career as a performer.   As an undergraduate and M.M.E. student at Northwestern University, he studied French horn with Chicago Symphony players Philip Farkas and Christopher Leube.  Inspired by the performances of Fritz Reiner, he also developed an interest in conducting, but, with the encouragement of Northwestern University musicologist John Ohl, ultimately decided to pursue the Ph.D. in Musicology.  After graduation, he embarked on a career as a scholar and teacher, first at the University of Hawaii, then at Indiana University School of Music.  During his career, he held fellowships from the American Council of Learned Societies and the John Simon Guggenheim Memorial Foundation and since 1997 had served as chair of the musicology department at Indiana University’s School of Music.

       Though he chose musicology over performance, Brown never lost his interest in making the music he studied come alive.  Not only did he turn his scholarship to practical tasks, he also organized and conducted concerts.  Brown pursued his scholarship with dedicated intensity and was best known for his articles and books on Haydn, among them Performing Haydn’s The Creation: reconstructing the Earliest Renditions and Haydn’s Keyboard Music: Sources and Style (both 1986).  He published widely on eighteenth-century topics from Antonio Caldara to Carlo d’Ordonez, and made occasional forays into the nineteenth century.  In 1994, he began writing a history of the symphonic repertoire (published by Indiana University Press) but was able to complete only three of the five volumes before his untimely death.  His scholarship was recognized not only by musicologists but by performers and conductors as well: his edition of Die Schöpfung has been conducted and recorded by Christopher Hogwood, John Eliot Gardiner, and Sir George Solti, among others. 

       Brown was a much-loved and much admired teacher, and those who studied and worked with him learned to value not only his awe-inspiring command of the field but also his unexpectedly dry wit. 

Source:  Morrow, Mary Sue.  “A. Peter Brown.”  AMS Newsletter 33 no.2 (August 2003): 17.

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Works
 

Books

 Brown, A. Peter. “The Solo and Ensemble Keyboard Sonatas of Joseph Haydn A Study of Structure and Style”.  PhD diss.,Northwestern University, 1971

Brown, A. Peter, and James Turner Berkenstock. Joseph Haydn in Literature A Bibliography. München: G. Henle, 1974.

Brown, A. Peter. Tentative Outline for Joseph Haydn M510 and Guides to the Music. S.l: s.n., 1975.

_____. Carlo D'Ordonez, 1734-1786 A Thematic Catalog. Detroit studies in music bibliography, no. 39. Detroit: Information Coordinators, 1978.>

   Approaching Musical Classicism Understanding Styles and Style Change in Eighteenth-Century Instrumental Music. [United States]: College Music Society, 1980.

_____.  Performing Haydn's The Creation Reconstructing the Earliest Renditions. Music--scholarship and performance. Bloomington, IN: Indiana University Press, 1986.

_____.   Joseph Haydn's Keyboard Music Sources and Style. Bloomington, IN: Indiana University Press, 1986.

Brown, A. Peter, and Richard Griscom. The French Music Publisher of Lyon A Dated List. Detroit: Information Coordinators, 1988

_____.  The Symphonic Repertoire. The First Golden Age of the Viennese Symphony Haydn, Mozart, Beethoven, and Schubert. Bloomington, IN: Indiana University Press, 2002.

_____.  The Symphonic Repertoire. The Second Golden Age of the Viennese Symphony Brahms, Bruckner, Dvořaìk, Mahler, and Selected Contemporaries. Bloomington, IN: Indiana University Press, 2003.

_____.  The Symphonic Repertoire. The European Symphony from Ca. 1800 to Ca. 1930 Germany and the Nordic Countries.  Bloomington, IN: Indiana University Press, 2007.

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Scores

Ordonez, Carlos d'. Seven symphonies. Edited by A. Peter Brown, and Peter M. Alexander. New York: Garland, 1979.

_____. String quartets. Edited by A. Peter Brown.  Recent Researches in the Music of the Classical Era, v. 10. Madison, WI: A-R Editions, 1980.

Haydn, Joseph, Die Schöpfung = The Creation. Vocal score edited by A. Peter Brown with Julie Schnepel. Oxford: Oxford University Press, 1991.

_____.  Die Schöpfung = The Creation. Full score edited by A. Peter Brown.  Oxford: Oxford University Press, 1995.

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Articles

Brown, A. Peter.  “Structure and Style in the String Quartets of Carlos d'Ordonez (1734-1786).”  In International Musicological Society Report 1972. 314-24. Copenhagen: International Musicological Society, 1972.

_____.  A Re-introduction to Joseph Haydn's Keyboard Works.”  Piano Quarterly 21, no. 79 (Fall 1972): 42-47.

_____.  Problems of Authenticity in Two Haydn Keyboard Works (Hob. XVI:47 and Hob. XIV:7).”  Journal of the American Musicological Society 25, no. 1 (Spring 1972): 85-97.

_____.  “The Earliest English Biography of Haydn.”  The Musical Quarterly 59, no. 3 (July 1973): 339-354.

Brown, A. Peter and James T. Berkenstock.  “Joseph Haydn in Literature: A Bibliography.”  Haydn-Studien 3, no. 304 (July 1974): 173-352.

Brown, A. Peter.  “The Chamber Music with Strings of Carlos d'Ordonez: A Bibliographic and Stylistic Study.” Acta Musicologica 46, no. 2 (July-December 1974): 222-272.

Brown, A. Peter and Carol V. Brown.  “Joseph Haydn in Literature: A Survey.”  Notes. Music Library Association 31, no. 3 (March 1975): 530-547.

Brown, A. Peter. “Joseph Haydn and C.P.E. Bach: the Question of Influence.”  In Haydn Studies: Proceedings of the International Haydn Conference, 158-164. Washington, D.C.:  International Haydn Conference, 1975.

_____.  “The Structure of the Exposition in Haydn's Keyboard Sonatas.” The Music Review 36, no. 2 (May 1975): 102-129.

_____.  “An Addendum to Weinmann's Eine Variante zu Einem Portrat Joseph Haydns.”  Haydn Yearbook / Haydn Jahrbuch 9 (1975): 303-305.

_____.  “Critical Years for Haydn's Instrumental Music: 1787-1790.”  The Musical Quarterly 62, no. 3 (July 1976): 374-394.

_____.  Tommaso Traetta and the Genesis of a Haydn Aria (Hob.XXIVb:10).”  Chigiana 36 (1979):  101-142.

_____.  “’Celerio, le Dieu de Clavecin': An Unknown Contemporary Appraisal of Clementi?”  The Musical Times 120, no. 1638 (August 1979): 645-647.

_____.  “Approaching Musical Classicism: Understanding Styles and Style Change in Eighteenth-Century Instrumental Music.”  College Music Symposium,20, no. 1 (Spring 1980): 7-48.

_____.  “Joseph Haydn and Leopold Hofmann's Street Songs.” Journal of the American Musicological Society 33, no. 2 (Summer 1980): 356-383.

_____.  “On the Opening Phrase of Mozart's K. 271: A Singular Yet Logical Event.” Mozart-Jahrbuch (1980-83): 310-318.

_____.  “Notes on Some Eighteenth-Century Viennese Copyists.” Journal of the American Musicological Society 334, no.  2 (Summer 1981): 325-338.

_____.  “An Introduction to the Life and Works of Carlo d'Ordonez.” In: Music East and West: Essays in Honor of Walter Kaufmann. 243-59. New York: Pendragon, 1981.

_____.  “The Symphonies of Carlo d'Ordonez: a Contribution to the History of Viennese Instrumental Music During the Second Half of the Eighteenth Century.” Haydn Yearbook / Haydn Jahrbuch: 12 (1981)

_____.  “Zur Profanen Vokalmusik Joseph Haydns.”  In Joseph Haydn in Seiner Zeit. Eisenstadt, 20. Mai-26. Okt. 1982. Ausstellung. 282-90. Eisenstadt: Amt der burgenlandischen Landesregierung, 1982.

_____.  “Brahms' Third Symphony and the New German School.”  The Journal of Musicology 2, no. 4 (Fall 1983):  434-452.

_____.  “Marianna Martines' Autobiography as a New Source for Haydn's Biography During the 1750's.”  Haydn-Studien 6, no. 1 (1986): 68-70.

_____.  “A Country Dance by Haydn.”  The Musical Times 127, no. 1715 (January 1986): 17-18.

_____.  “Performance Tradition, Steady and Proportional Tempos, and the First Movements of Schubert's Symphonies.” The Journal of Musicology 5, no. 2 (Spring 1987):  296-307.

_____.  “Caldara's Trumpet Music for the Imperial Celebrations of Charles Vi and Elisabeth Christine.”  In Antonio Caldara: Essays on his Life and Times ed. by Brian W. Pritchard.  1-48.  Aldershot: Scolar.  1987.

_____.  Music, Poetry, and Drama in Mozart's Arias Before Die Entfuhrung Aus Dem Serail.”  Studies in Eighteenth-Century Culture 18 (1988):  263-288.

_____.  “Haydn and the Gows.” The Musical Times 129, no. 1747 (September 1988): 459-460.

_____.  Haydn's Chaos: Genesis and Genre.”  The Musical Quarterly  73, no.1 (1989): 18-59.

_____.  “Stylistic Maturity and Regional Influence: Joseph Martin Kraus's Symphonies in C-sharp Minor (Stockholm, 1782) and C Minor (Vienna, 1783?).”  In Studies in Musical Sources and Styles: Essays in Honor of Jan LaRue ed. by Eugene K. Wolf and Edward H. Roesner. 381-418.  Madison, WI : A-R Editions. 1990.

_____.  The Creation and The Seasons: Some Allusions, Quotations, and Models from Handel to Mendelssohn.”  Current Musicology no.51 (Fall 1991):  26-58.

_____.  Amadeus and Mozart: Setting the Record Straight.”  American Scholar 61, no.1 (Winter 1992):  49-66.

_____.  Haydn and Mozart's 1773 Stay in Vienna: Weeding a Musicological Garden.”  The Journal of Musicology 10, no. 2 (Spring 1992): 192-230.

_____.  “Musical Setting of Anne Hunter's Poetry: From National Song to Canzonetta.”  Journal of the American Musicological Society  47, no.1 (spring 1994): 39-89.

_____.  “Walking Through Different Groves with Sir George.” American Scholar 64, no.4 (fall 1995):  579-589.

_____.  “The Trumpet Overture and Sinfonia in Vienna (1715-1822): Rise, Decline and Reformulation.”  In Music in Eighteenth-Century Austria, ed. by David Wyn Jones. 13-69. New York: Oxford University Press,1996.

_____.  “The Sublime, the Beautiful and the Ornamental: English Aesthetic currents and Haydn's London symphonies.”  In Studies in Music History Presented to H.C. Robbins Landon on His Seventieth Birthday, ed. by Otto Biba & David Wyn Jones,  44-71.  London: Thames & Hudson, 1996.

_____.  “The String Trio Version of Haydn's Princess Esterhazy Sonatas (Hob.XVI:40-42): Authenticity and Authorship.”  In Essays in Honor of John F. Ohl: A Compendium of American Musicology, ed. by Enrique Alberto Arias, 155-176.  Evanston, IL: Northwestern University Press, 2001.

_____.  Notes on Joseph Haydn's Lieder and Canzonettas.”  In For the Love of Music: Festschrift in Honor of Theodore Front on His 90th birthday, ed. by Darwin F. Scott, 73-103.  Lucca : LIM Antiqua, 2002.

_____.  “Eighteenth-Century Traditions and Mozart's "Jupiter" Symphony K.551.”  The Journal of Musicology 20, no.2 (Spring 2003):  157-195.

 



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 Updated 7 Feb. 2008 / Benjamin P.
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last updated: 4/20/2012