bluuebunny/crossref_metadata_2025 huggingface dataset:
Mexico, 1826–1829
Authors: Radomski James
Published: November 2023

García, his wife, son Manuel, and daughter Pauline, sailed from New York for Veracruz on 16 October 1826, in the brig Brown.1 Maria remained behind in New York for one more season. Although the Harmonicon had made mention, in April, of an invitation to go to New Orleans, it seems that García went directly to Mexico. This is supported by the fact that when he applied for a passport on 28 February 1828, García affirmed having resided precisely one year and four months in Mexico.

García—preceded by his reputation—was eagerly awaited by Italian opera lovers in Mexico. Yet he was to find himself in a delicate position. Not only was he to confront the bureaucratic problems of theatre management, with which he was by now all too familiar, but also he entered Mexico at a moment of great political turmoil, at the heart of which was a bitter controversy over the position of Spanish nationals in the nascent republic which only five years earlier had won its independence.
Last Year and Death, 1831–1832
Authors: Radomski James
Published: November 2023

Having to step down in the performance of Don Giovanni on 23 December 1829 was doubtless a blow to García, who finally had to come to terms with the fact that he was not the singer he used to be. Nevertheless, it is very unlikely that he was ‘old and bitter’ as romanticized by the writer, and personal friend of Maria Malibran, Ernest Legouve. García’s character was too resilient and he was too much of a hard worker to allow himself the time for such thoughts. García was, however, in need of a rest and was probably glad to be able to devote all his energies to teaching. Teaching was not, for him, a condemnation-something to do to make money after losing his voice. He had given much time to teaching even at the height of his performing career. It was as satisfying for him as singing on-stage, if not more so, given the fact that he could be in control of the enterprise and avoid the chaos that theatrical bureaucracies inevitably brought with them. And García would still be in the mainstream of operatic currents, delighting in the Débuts of his proteges. Nothing suggests that García ended his life in a dimmed aura of defeat or depression. On the contrary, he undertook the role of teacher and mentor with characteristic passion and dedication.
Aftermath: The Memory and Legacy of García
Authors: Radomski James
Published: November 2023

Manuela Morales and her children seemed to have received some justice, at least, after García’s death. The children of Joaquina Briones went on to make history. Briones quickly took up the matter of promoting the careers of her two daughters. With regard to Pauline, she probably had an influential role in the actual training of the voice. After Maria’s death on 23 September 1836, Joaquina travelled with Pauline and retired to the chores of grandmothering and housekeeping, eventually moving to Brussels, where she died in 1864.
The Orphic Jacob
Authors: Wegman Rob C
Published: November 2023

Eight lines of Latin poetry hold the key to Jacob Obrecht’s origins. They were written by the composer himself, and have survived together with the music to which he set them: the motet Mille quingentis. The poem gives two crucial items of biographical information: Obrecht’s father was called Guillermus, and he died in 1488. This was enough for the Belgian historian Berten De Keyzer, in 1953, to identify the man in documents from the city archive in Ghent.1 Civic pay records establish that a Willem Obrecht worked as a trumpeter in that city from 1452 until his death in 1488. To confirm the identification, the only offspring mentioned in documents concerning his estate is ‘meester Jacop Hobrecht priestre’.
Born for the Muses
Authors: Wegman Rob C
Published: November 2023

At the age of 2, Jacob Obrecht had a secure future virtually mapped out for him. The inheritance of his mother alone would eventually guarantee him a regular income of 540 groats per year—at a time when one groat per day represented an acceptable living standard. And although no documentation survives on the financial situation of his father, surely he was to leave him a similar legacy: Willem Obrecht could not have married two daughters of well-to-do citizens if he himself brought no commensurate capital to the marriage.
Towards a New Language
Authors: Wegman Rob C
Published: November 2023

Obrecht’s mature style seems to have emerged quite suddenly in the late 1480s; watermark evidence indicates that it had reached full bloom by 1491-3, with such works as Fortuna desperata and Rose playsante. The idiom in these and other mature works is so distinct from everything we have seen so far that a break with the past rather than a smooth transition must be suspected. This major turning-point in Obrecht’s creative career cannot be dated with accuracy, but several influences and pressures may have co-operated to bring it about: the fundamental reconsideration of his stylistic premisses during the critical phase (1486-8), fresh impulses from the Ferrarese musical environment (1487-8), and the increased demand for new mass settings that he faced on his return to Bruges in 1488 (see Ch. 6).
Marriage (1750)
Authors: Howard Patricia
Published: November 2023

After the performances of Ezio during the carnival season of 1749–50, Gluck’s activities are again uncharted. At least a portion of the summer months of 1750 would have been devoted to preparing for his wedding. Exactly when Gluck met his future wife, Maria Anna Bergin (or Pergin), is not known. Such a meeting may have occurred as early as 1748. Schmid handed down a family tradition that Gluck did indeed meet Marianne (as she is always known) in this or the following year, but that the marriage was forbidden by her ambitious father, the wealthy merchant Joseph Bergin, on whose death Gluck ‘flew on the wings of love’ to Vienna to claim his bride.1 More recent research has shown that if opposition there was, it must have come from Marianne’s guardian, Joseph Salliet, since Joseph Bergin died in 1738.2
Orfeo (1762)
Authors: Howard Patricia
Published: November 2023

Gluck’s next opera transformed his standing both among his contemporaries and for all time. There are, however, few sources to tell how it came to be written, and the most explicit is not necessarily the most reliable.
Alceste (1767–1769)
Authors: Howard Patricia
Published: November 2023

When Gluck visited Florence in February 1767, Alceste was already finished. He may well have played portions of it to Archduke Leopold, whose interest from an early stage is implied in the celebrated dedication of the score. A letter from Calzabigi written in March of that year shows that the new opera was complete and its performance expected soon. Calzabigi addresses the imperial chancellor Prince Wenzel Anton Kaunitz, his employer and patron, who, after Durazzo’s resignation on I April 1764, had taken a leading role in protecting both the interests of the French company at the Burgtheater and Gluck’s and Calzabigi’s operatic innovations.1
Nanette (1776)
Authors: Howard Patricia
Published: November 2023

Nanette died of smallpox on 21 April. Gerber records a few details of her last illness, including the fact that she was a favourite with the imperial family, and that Emperor Joseph sent for news of her several times each day.1
Negotiations at a Distance (1778)
Authors: Howard Patricia
Published: November 2023

We arrived here safely yesterday afternoon, after enduring much hardship on the journey; the coach and its wheels broke and stuck in the snow, and suffered every possible disaster. Moreover I have arrived here at the wrong time; everyone is preparing for war, which it will be difficult to prevent.1 am sending you a letter for Mlle Levasseur, together with the ring, which I ask you to give soon to M. Zoller so that he can insert the stone; give him our compliments. When the ring has been cleaned and repaired, please give it to Mlle Levasseur, together with the letter.2
Symphony No. 1 (-25 November 1759)
Authors: Haimo Ethan
Published: November 2023

Although some evidence indicates that the Symphony in D major Hob. I: i, might be Haydn’s first symphony,1 much uncertainty remains about the dating of this and many other early works.2 In any event, it is undoubtedly one of Haydn’s earliest symphonies and as such is a good example of his compositional technique at the initial stages of his career.
Symphony No. 75(–1781[?1779])
Authors: Haimo Ethan
Published: November 2023

None of the symphonies analyzed thus far has begun with a slow introduction or ended with a rondo—until 1770 both features were rare.1 In works composed after that point, one encounters, with increasing frequency, slow introductions to the first movements and rondos as finales. Symphony No. 75 has both.
Symphony No. 99 (1793)
Authors: Haimo Ethan
Published: November 2023

In 1794, Haydn returned to England for his second visit. In preparation for this trip, and during the course of his stay, he wrote the last six of his symphonies. Of these, Symphony No. 99 appears to have been the first one composed, written not in London, but in Vienna before his departure.1
Texts Musical Form and Dramatic Impact
Authors: Hurley David Ross
Published: November 2023

It is certainly true that many of Handel’s decisions concerning the basic formal structures of arias and choruses often must have occurred before he began actual composition, thus belonging to that vast realm called, ironically enough, ‘precompositional activity’. However, pre-existent material-which in Handel’s case amounts to two items: musical borrowings and the libretto apparently had far less influence on him than on Bach in regard to the musical forms ultimately chosen. This is unquestionably the case with the borrowings. As we have seen from a number of previous examples, the musical model rarely seems to affect the form of the work based upon it; form represents one of the avenues through which Handel repays borrowings with interest. The role of the libretto in the generation of musical forms is, in Handel’s case, a more complicated issue, however: to a degree the text helps define his musical forms, but he exercised some control over the text. In order to elucidate revisions of musical form, it is clear that something must be said about Handel’s attitude towards and treatment of libretti.
Singers and the Creative Process
Authors: Hurley David Ross
Published: November 2023

English singers and those acclimatized by a long stay in England were not stars like the Italian opera soloists, and they could not make the unyielding demands of such stars. Opera was, and continued to be, a musical star performance. It was the brilliant singing, not the dramatic entity, which supported it. Oratorio had another aim. Sustained by an all-embracing idea, it had the right to demand that the soloists and the choir subordinated themselves to this idea. It was impossible to demand this subordination of the Italian opera stars; they were accustomed to prominence, not to submission. To continue to use them in oratorio would have placed considerable obstacles in the way of fulfilling this demand.
Music and Ritual at Charles the Bold’s Court: The Function of Liturgical Music by Busnoys and his Contemporaries
Authors: Brown† Howard Mayer
Published: November 2023

Shortly after Charles the Bold became duke of Burgundy, he had drawn up a detailed set of regulations concerning the organization of his household. These ordinances offer the most detailed information we have about the people who worked for the court, and what duties they were required to perform. We learn from these ordinances of 1469 about the members of Charles’s kitchen staff, his heralds at arms, his secretaries, financial administrators, gentleman pages, and so on.
From Social Disciplining to Spiritual Recreation
Authors: Kendrick Robert L
Published: November 2023

To understand the evolution of Carlo Borromeo’s actual policies and their effects on music, it is almost misleading to begin with the decisions at Trent. The discussion of male and female monastic life was hurried through during Session XXV, almost at the end of the proceedings in I 563. But Giovanni Morone’s ambitious plans for the reform of the religious orders provoked passionate opposition, and the vagueness of the final conciliar rules, including the prescriptions for nuns, marked the sharp differences that continued even after the Council’s end. The disagreement over sisters’ liturgy was occasioned by a set of radical proposals, drafted by Gabriele Paleotti, which would have excluded all music but chant.
Continuity and Innovation from Antegnati to Rusca
Authors: Kendrick Robert L
Published: November 2023

The first traceable corpus of pieces associated with sisters comprises stile antico Office settings, followed by the early concertos in stile moderno. The new century’s contributions to genres whose origins dated to the Cinquecento overlap both these repertories: Gallo’s and Soderini’s 1598 double-choir motets, Vecchi’s 1601 Penitential Psalms, the contrafacta by Cavalieri and Coppini, Sessa’s monodies, and Rognoni’s 1620 pedagogical divisions. This patrician repertory—the kinds of works that Claudia Rusca would have heard and performed as a young Milanese musician—allows us to place the remnants from her Sacri concerti in context.
Spirituality Style in Cozzolani’s Music
Authors: Kendrick Robert L
Published: November 2023

Cozzolani’s deployment of musical structure and surface features framed the polyphonic projection of the texts’ spirituality into the urban world. As duets of the Concerti sacri best manifest the new style’s characteristics: quick declamation, long triple-time periods, ostinatos or quasi-ostinatos, and climax by texture. The mercurial change from Casati’s works Bone Jesu fons amoris, O dulcis Jesu, Colligite pueri, and Sugamus omnes are the classical high-voice pieces of this stamp.
Keyboard and Compass
Authors: Komlós Katalin
Published: November 2023

The mechanical differences between the German/Viennese and the English pianoforte have been described several times in the literature; much less has been said about the keyboard itself. Naturally, the pressing of the key cannot be discussed separately from the structure of the mechanism; still, it is through the keys that the player is in direct contact with the instrument.
Clavier Instruments and Textures
Authors: Komlós Katalin
Published: November 2023

In this manner we kept on a loquacious intercourse the whole day, during which, he not only played a great deal on the Harpsichord, Organ, Piano forte, and Clavichord; but shewed me the theatre, and all the curiosities of Ludwigsburg, as well as wrote down for me, a character of all the musicians of that court and city.1
The Christ Church Viol-Consort Manuscripts Reconsidered: Christ Church, Oxford, Music Manuscripts 2, 397-408, and 436; 417-418 and 1080; and 432 and 612-613
Authors: Wainwright Jonathan P
Published: November 2023

It is well known that the library of Christ Church, Oxford contains some of the most important surviving manuscripts of seventeenth-century English instrumental music. Foremost amongst these are the three interrelated manuscript sets which are the concern of this essay: Mus. 2, 397-408, and 436 (‘The Great Set’); Mus. 417-18 and rn8o (‘The Bing Set’); and Mus. 432 and 612-13 (‘The Hatton Set’).1 The original owners and copyists of these manuscripts have recently been the subject of intense musicological enquiries,2 but many questions have remained unanswered. This essay will attempt to build on the recent research and, in the context of the increased awareness of the patronage of Christopher, First Baron Hatton (1605-70) and the copying activities of musicians in his employ, offers some further thoughts .on the provenance and the importance of these sets.
Lyra-Viol Musicã A Semantic Puzzle
Authors: Traficante Frank
Published: November 2023

It seems paradoxical that the laudable desire to be accurate and precise all too often results in scholarly writing that falls short of meaningful communication. Winston Churchill wrote that ‘the reserve of modern assertions is sometimes pushed to extremes, in which the fear of being contradicted leads the writer to strip himself of almost all sense and meaning’. By way of example he quoted the following passage by an unidentified scholar attempting to express what we know of King Arthur:It is reasonably certain that a petty chieftain named Arthur did exist, probably in South Wales. It is possible that he may have held some military command uniting the tribal forces of the Celtic or highland zone or part of it against raiders and invaders (not all of them necessarily Teutonic). It is also possible that he may have engaged in all or some of the battles attributed to him; on the other hand, this attribution may belong to a later date.
‘Evenly, Softly, and Sweetly Acchording to All’:The Organ Accompaniment of English Consort Music
Authors: Holman Peter
Published: November 2023

In a famous passage about the consort music of his youth, Thomas Mace remembered that ‘We had for our Grave Musick, Fandes of 3, 4, 5, and 6 Parts to the Organ; Interpos’d (now and then) with some Pavins, Allmaines, Solemn, and Sweet Delighiful Ayres,’ and added: These Things were Performed, upon so many Equal, and Truly-Sciz’d Viols; and so Exactly Strung, Tun’d, and Play’d upon, as no one Part was any Impediment to the Other; but still (as the Composition required) by Intervals, each Part Amplified, and Heightened the Other; The Organ Evenly, Softly, and Sweetly Acchording to All.
Alma
Authors: Kennedy Michael
Published: November 2023

Alma Mahler wrote two remarkable books: Gustav Mahler and her autobiography And the Bridge is Love. After Mahler’s death she became the mistress of Oskar Kokoschka, the painter, and married the architect Walter Gropius, founder of the Bauhaus, in 1915. Soon they parted and were divorced. By Gropius she had a daughter, Manon, whose death from polio at the age of eighteen is commemorated in Berg’s Violin Concerto, with its dedication ‘to the memory of an angel’. In 1929 she married the writer Franz Werfel and eventually settled in the United States, where she died in 1964. Although she lived to the hilt for fifty-three years after his death, one senses from her writing that Gustav Mahler, even when she reacted against his music, dominated her existence. Their marriage was, on the face of it, doomed to failure, yet despite storms and stresses it held (just) because of Mahler’s intensive love for her. They were Hans Sachs and Eva personified. Her books are often fearfully inaccurate, they may have offended individuals, but by their frankness and tactlessness as an unlikeable self-portrait they give an unrivalled, if distorted, picture not only of Mahler but of a whole artistic circle. The letters Mahler wrote to her for ten years are a moving and vivid revelation of his real personality, belying the superficial impression of him as a neurotic megalomaniac teetering on the brink of madness, a misrepresentation for which Alma is largely responsible. She lays candid stress on his egocentricity, his intolerance, his incredible gaucherie in som rersonal dealings, but through her pages and through his letters shines a man with a keen sense of observation, a philosophical acceptance of human frailties, a sardonic sense of humour, an astute business mind and a touching capacity for real affection. He could laugh at himself. Writing to Alma in 1910 he admitted he had lost his temper at a rehearsal of the Eighth Symphony but later: ‘I came out of my corner like a sulky boy.’ It is also clear that, despite her pretensions, he was by miles her
Songs and Symphony No. 1
Authors: Kennedy Michael
Published: November 2023

Mahler’s earliest works need not detain us for more than a few lines. Some have already been mentioned. Mahler told Natalie BauerLechner: At the Conservatoire I never finished a single score. I usually stopped after the first or second movement, occasionally after the third … not because I was impatient to start another but because, before even finishing my work, I was no longer satisfied with it. I had already moved beyond it. Some of the earliest compositions which he allowed to be published are in the three books of Lieder und Gesange aus der Jugendzeit (Songs from the Days of Youth). The first of the three books, all published in 1892, comprises five songs written between 1880 and 1883. The remaining books contain nine settings from Des Knaben Wunderhorn, which will be considered in that context. Of Book 1, the third song, Hans und Grethe, to a text by Mahler, was composed on 5th March 1880 as one of a proposed set of five songs dedicated to Josephine Pois!, daughter of the postmaster at lglau, of which three survived.
1803-1830
Authors: Macdonald Hugh
Published: November 2023

The Berlioz family had been settled in the region between Lyons and Grenoble, the Isere department of France, since the beginning of the seventeenth century, if not before, and from being tanners in earlier generations they had risen to the respectable professions of law and medicine. Most of Berlioz’s paternal relatives were lawyers or doc­ tors, and he considered entering both professions himself, however briefly. His grandfather, Louis-Joseph Berlioz (1747-1815) was a lawyer in Grenoble and his father, also Louis-Joseph (1776-1848), was a doctor in the small town La Cote-St-Andre, about thirty miles north-west, not far from the main road north to Lyons. In this community Berlioz’s father was a prominent well-to-do citizen, briefly mayor in 1817, holding clear authority and responsibilities and giving himself energetically to them. His wife, Marie­ Antoinette-Josephine, nee Marmion (1784-1838), was brought up at Meylan, a few miles east of Grenoble.
The Music 1818-1830
Authors: Macdonald Hugh
Published: November 2023

Berlioz never wavered in his assumption that composing music was his prime vocation. Circumstances and necessity steered him, like so many other composers, along many other paths, but to be composing was for him the highest source of fulfilment. He was not prolific and composed always with great care, as he explained during work on Les Troyens, drafting, polishing, revising, orchestrating. He rarely dashed off a short work in a moment of inspiration, preferring to let great subjects gestate in his mind before the hard work of composition began. The idea of the Symphonie fantastique was implanted two years before composition, that of Romeo et Juliette probably twelve years before, Faust seventeen years before, Beatrice et Benedict twenty-seven years before and Les Troyens forty years before. Only in the vaguest sense can he have been composing in these periods of incubation (and Faust provides an interesting exception in that Berlioz did some of the composing too soon), but they were, none the less, important to him. Into his largest works he put his greatest effort, not just because they took longer to write but because they drew on the deepest resources of his art.
The Music 1850-1869
Authors: Macdonald Hugh
Published: November 2023

The early 1850s were exceptionally active years in Berlioz’s public life. He was incessantly conducting, travelling and writing prose without apparently rediscovering the creative pressure that put La damnation de Faust together in similar conditions. His musical output was consequently slight, and it is tempting (though largely unfounded) to see the gap as a pause in which to prepare for the three great works of his last years: L’enfance du Christ, Les Troyens and Béatrice et Bénédict. The operas were of course the outcome of long years of contemplation, but L’enfance du Christ came into being in a quite unplanned way. Most of it was composed in 1853 and 1854, while the three movements which make up the central part of the trilogy, La fuite en Égypte, had been written three years earlier. In the interim he seems to have composed nothing. He was more concerned with retrieving some of his forgotten songs and choruses and publishing them in new collections. Tristia and Vox populi appeared in 1849, Feuillets d’album and Fleurs des landes in 1850; very little in any of these collections was new.
The final phase
Authors: MacDonald Malcolm
Published: November 2023

During the most creative stage of his compositional process - the actual sketching or drafting of works rather than their revision or fair-copying - Brahms liked to be in rural, not urban surroundings, preferably of considerable natural beauty. Thus he spent his summers at various small resorts or hideaways, working out his music in his head during his habitual early morning walks. After the 1876 summer in Rügen, with its beech woods and desolate moorlands and frogs croaking in their ‘yearning, mournful C flat’ (as Brahms described it to Henschel), he preferred lakeland or mountain scenery.
The later music, 1883-96
Authors: MacDonald Malcolm
Published: November 2023

The last dozen years or so of Brahms’s creative life brought no startling change of style - but his tendency, from at least the mid-1860s onward, always to create an organic unity, with ever greater motivic economy and tonal fluidity yet increasing potency of ideas, had solidified into a ‘late manner’ which combined concision of structure with remarkable freedom and richness of thought. A striking illustration is the Third Symphony, in F major, op. 90, composed at Wiesbaden in 1883. An immediate public success, for a short time (to Brahms’s irritation) it threatened to overshadow his other works in critical esteem.
General Characteristics
Authors: Radcliffe Philip
Published: November 2023

Early in the nineteenth century the distinction between ‘classical’ and ‘modern’ was less strongly marked than it is at the present day, and it was easier for the average music-lover to enjoy the works of living and recently dead composers without relying so much for his daily bread on the masterpieces of the past. The year 1809 marks not only the birth of Mendelssohn but also the death of Haydn, whose music, however, like that of Mozart, was already widely known and loved. The existing works of Beethoven, for all their provocative qualities, were not as far removed from the everyday language of music as is much of the more provocative work of the twentieth century.
The best society
Authors: Samson Jim
Published: November 2023

During the winter season of 1834-5 Chopin settled into a stable routine of composing and teaching, together with occasional concert appearances. By this time he was earning reasonable sums from teaching, and a certain amount from the sale of his music. He could afford to live stylishly, but he made no effort to put money aside, and for the rest of his life he proceeded on this rather ‘hand to mouth’ basis. As a result he was frequently short of funds, and the more so in that he enjoyed the luxuries of life. On such occasions he would hastily prepare a few further manuscripts for publication, or alternatively negotiate an advance on compositions not yet written.
Images of Chopin
Authors: Samson Jim
Published: November 2023

Chopin’s funeral at the Madeleine, paid for by Jane Stirling, was delayed until 30 October, while special permission was sought for women to sing in Mozart’s Requiem, in accordance with Chopin’s last wishes. After it the body was taken to the Pere Lachaise cemetery, with Prince Czartoryski as Chief Mourner. But well before the funeral the Chopin cult had begun. The day following his death Kwiatkowski made several sketches of Chopin’s face, the sources for innumerable later replicas. Clesinger also made a death mask and worked several plaster casts from two negatives, one of them commissioned by Jane Stirling. He was further charged by a committee chaired by Delacroix with the task of sculpting the monument that would be unveiled at a special ceremony at Pere Lachaise a year later.
The piano: technique and teaching
Authors: Watson Derek
Published: November 2023

‘The piano is the microcosm of music,’ Liszt wrote to Princess Carolyne in December 1877, echoing a sentiment from his open letter to Pictet of four decades previously. A century before, in 1777, Sebastian Erard began manufacturing his pianos in France and, in London, Adam Beyer introduced the sustaining pedal, a device patented by Broadwood in that city in 1783. Broadwoods, the favourites of Clementi and Beethoven, had a larger, rounder tone and a heavier touch than Viennese instruments, which were renowned for their light, pearly, easy touch. According to Broadwood’s records1 1783 was also the year in which demand for pianos outstripped that for harpsichords. From that time the piano, invented early in the century, came more and more into its own. It was pre-eminently the instrument of the nineteenth century.
Concertos
Authors: Watson Derek
Published: November 2023

Two piano concertos of c.1825 mentioned in Adam Liszt’s correspondence have not survived, so their content and connection with any later works is unknown. It is unsurprising that the prodigy-composer had such concertos in his repertoire. What may surprise is that Liszt did not publish any concerto-type works until the 1850s, some years after ending his virtuoso career. But, as with much of the piano output already discussed, the works known as the Concerto No. 1 in E flat and the Concerto No. 2 in A were evolved over many years (sketches exist for them at Weimar from the early 1830s) before eventual publication in their final form: No. 1 in 1857 and No. 2 in 1863.
Orchestral music
Authors: Watson Derek
Published: November 2023

The majority of the symphonic works date from Liszt’s years at Weimar (1848-61): the Faust and Dante symphonies, twelve symphonic poems, two Episodes from Lenau’s ‘Faust’, six festive marches, and Les Marts. This is a prodigious output when considered along with Liszt’s many other Weimar activities. Les Marts became the first of his Trois Odes Funebres, a set completed during the Roman years.
Organ and chamber music
Authors: Watson Derek
Published: November 2023

The Margittay edition of the complete organ works contains forty-seven items. Of these eleven are transcriptions from other composers - Arcadelt, Bach, Chopin, Lassus, Mozart, Nicolai, Verdi and Wagner.
Crisis and Creativity 1799–1802
Authors: Kinderman William
Published: November 2023

The years around the turn of the century saw an important transition in Beethoven’s artistic development, accompanied by a biographical crisis of major proportions. No one category of analysis can adequately describe these complex events. The tension between consolidation and innovation, between retrospective and progressive tendencies, is particularly conspicuous in the music up to 1801, when, according to Czerny, Beethoven told his friend Wenzel Krumpholz that ‘I am only a little satisfied with my previous works. From today on I will take a new path’.
Consolidation, 1810–1812
Authors: Kinderman William
Published: November 2023

The climax of Beethovens engagement with Goethes writings came in 1810. His main project during the first half of the year was the incidental music to Goethe’s tragedy Egmont op. 84, which was first performed on 15 or 18 June.
‘The Hammerklavier sonata 1816–1818
Authors: Kinderman William
Published: November 2023

My father thought that B. could rescue himself from his unfortunate domestic conditions only by marriage, did he know anybody, etc. Now our long foreboding was confirmed: he was unhappy in love! Five years ago he had made the acquaintance of a person, a union with whom he would have considered the greatest happiness of his life.
Struggle 1819–1822
Authors: Kinderman William
Published: November 2023

Until recently, 1819 seemed to have been one of Beethoven’s least productive periods, with only a few canons and the II Dances for Seven Instruments WoO 17 attributed to that year. This impression has been substantially revised through the scrutiny of manuscripts unknown to earlier scholars, particularly the Wittgenstein Sketchbook in the Bodmer Collection held at the Beethoven-Archiv in Bonn and related documents in other collections. The chief discovery is that by the summer of1819 Beethoven had already conceived much of his next gigantic undertaking after the Hammerklavier Sonata: the 33 Variations on a Waltz by Diabelli op. 120, a work that was finished and published only four years later, in 1823.
Burial and Memorials
Authors: McKay Elizabeth Norman
Published: November 2023

WHEN Schubert fell into a coma on the evening of 18 November, Ferdinand wrote a note to his father informing him that his son was dying. On the next day his father replied, bidding Ferdinand to seek comfort in God and trust in His wisdom and goodness; He would give him strength and courage. And, Franz Theodor continued: ‘See to it, to the best of your ability, that our dear Franz is forthwith provided with the Holy Sacraments for the dying, and I shall live in the comforting hope that God will fortify and keep him.’1 But Schubert never regained consciousness and, unable to take the sacraments from the priest summoned by Ferdinand, received only ‘extreme unction’. That afternoon he died. The day after his son’s death, as the next of kin, his father ordered the printing of 150 copies of the customary announcement of death, including information on arrangements for the funeral which was to take place the next day: Yesterday, Wednesday, at 3 o’clock in the afternoon, fell asleep, to wake to a better life, my most dearly beloved son Franz Schubert, musical artist and composer, after a short illness and having received the Holy Sacraments, in the 32nd year of his age.
Passio
Authors: Hillier Paul
Published: November 2023

The Passio will probably stand as the quintessential example of Part’s tintinnabuli music, in which the tintinnabuli principles function on a large scale to convey a long prose text of very special spiritual significance, and in such a manner that the two cannot be viewed separately. My main purpose here will be to examine the means by which Part has transformed the text—eight columns of closely printed prose in my copy of the Vulgate---into a unified musical utterance, whose power and beauty have been widely attested to by audiences throughout the world. But first I propose to trace the early history of the Passion genre, which forms an important background to Part’s particular approach.
Il Bolognese
Authors: Allsop Peter
Published: November 2023

Setting aside the preposterous fabrications and fictions of the previous chapter, it is remarkable how little remains of the life of Arcangelo Corelli considering his phenomenal inter national success. He was born on 17 Febmary 1653 in the small town of Fusignano near Ravenna, about fifty niiles from Bologna. This is confirmed by the baptismal records of the Parish of San Giovanni Battista in Liba di Fusignano: He was given the name Arcangelo after his father, who had died just a month before, on r 3 January. Of his faniily background we know little, although some genealogists have traced a dubious lineage back to the Middle Ages and beyond: Corelli was a common enough name in the region. Information regarding his early life and training has in the past been drawn largely from two sources.
Synaesthesia and Similarity
Authors: Cook Nicholas
Published: November 2023

In the Most Inclusive Sense, music is anything that somebody decides to call music; there is no a priori need to be judgemental about it. But analysing music, at least in the sense that analysis is practised and institutionalized in Western or Westernized academia, necessarily involves something over and above this; it involves a sense of commitment. To analyse music is to be committed to the premiss that music is in some sense more than just a pile of notes; indeed, it is precisely the difference between a pile of notes and a piece of music that constitutes the topic of analysis. But we can be more specific than that. To analyse music is also to be committed to the idea that we perceive the notes in terms of the relationships between them: we perceive each note as influencing, and being influenced by, other notes-or at any rate, if we do not, it is hard to see what we could be analysing. In a nutshell, we analyse the interaction between the elements of the music: that is what analysing music means. And exactly the same applies to multimedia. To analyse something as multimedia is to be committed to the idea that there is some kind of perceptual interaction between its various individual components, such as music, speech, moving images, and so on; for without such interaction there is nothing to analyse.
Reading Film and Rereading Opera: From Armide to ‘Aria’
Authors: Cook Nicholas
Published: November 2023

The Arm/De Sequence from ‘Aria’ is based on the opera of that name by Jean-Baptiste Lully, first staged in 1686, and it is located at the intersection of two dimensions of intertextuality. What might be called the horizontal dimension concerns the collaborative nature of ‘Aria’.1 All films are collaborations between directors, actors, technicians, and producers (the list could be extended indefinitely); but ‘Aria’ is something more, for it consists of ten loosely linked sequences by ten different directors. Apart from Jean-Luc Godard, who directed the sequence based on Armide, the list includes Robert Altman. Derek Jarman, and Ken Russell. Each sequence is based on a different opera-sometimes just one number, sometimes excerpts from several-and in addition to Lully the composers include Rameau, Wagner, Verdi (no less than three sequences are based on Verdi operas), and Korngold. Each sequence is more or less self-contained, however, and in this chapter I shall be concerned exclusively with Godard’s visualization of Armide.
Dragonetti ‘s Death and Estate
Authors: Palmer Fiona M
Published: November 2023

DEAR srn,-Suffering myself from the consequence of a very serious accident, but being informed that Dragonetti was dangerously ill, I limped on Thursday last to his residence to see him.

I was informed by his friend Mr. N. that I could not see him, and that there were many persons waiting there for that purpose, but could not be allowed to do so, Dragonetti being too ill. I rested myself in an apartment for some time; at last Mr. N. receded, shaking his head, to whom I said, to mention to Dragonetti Mr. Stumpff would be glad to see him, which wish he complied with. On returning, he said, Mr Dragonetti would be glad to see me. I found him in his bed; on beholding me, he stretched his hand towards me, which I pressed warmly, saying-’That was the hand Beethoven desired me to press, and which I came here to perform now in my own name, as well as that of his great friend Beethoven, who is now composing sublime symphonies in purer regions. At this moment his withered countenance visibly cleared up and grew animated, uttering-’{ am glad to see you very much.’ Being desired by Mr. N. to make my visit short, I pressed his hand very hard, uttering ‘God bless you, my dear sir, for ever’.
Constraints
Authors: Bayton Mavis
Published: November 2023

Subcultural theorists (Hall and Jefferson 1976) took for granted young people’s ability to choose what to do in their leisure time, and thus merely addressed the question of how their choices should be interpreted. In contrast, Frith (1983) argued that different leisure patterns are a reflection, not so much of different values, as of the different degrees of opportunity, restriction, and constraint that are afforded to different individuals and social groups. A particular leisure pursuit may be made easy or difficult for an individual according to their social structural position, gender (along with class, ‘race’, etc.) being one aspect of such societal location. Frith’s argument was that, for everyone, leisure, consumption, and style involve a relationship between choice and constraint. I wish to argue that such constraints are crucial to the explanation of women’s absence from rock. I shall be considering the degree to which gender operates within the different social classes. One thing which stands out, however, is the extent to which girls and young women in all social classes and ethnic groups are restricted in their leisure pursuits compared to boys/young men. It is important to note that there are both material and ideological constraints in operation. In reality, of course, these two are closely interrelated. (For instance, lack of access to equipment is an important material constraint, but one of the reasons for its denial is ideological.) However, for the sake of analytical clarity I shall endeavour to separate them.
Early Years in Bohemia
Authors: Stockigt Janice B
Published: November 2023

On 16 October 1679 Jan Lukáaš [Dismas] Zelenka was baptized in the Catholic parish church of Lounovice, a small Bohemian village south-east of Prague close to Blaník, that Bohemian mountain with great national and patriotic resonances. Zelenka came from a distinguished lineage of talented Bohemian musicians of the seventeenth and eighteenth centuries, all of them progeny of village organist-cantors.
Zelenka’s Late Style
Authors: Stockigt Janice B
Published: November 2023

The Hasse-led, court-supported incursion into Dresden of a new musical style presented Zelenka with a dilemma. Despite earlier experiments with galant mannerisms, and notwithstanding compositional efforts to display the vocal talents of the Italian-trained singers who had come to Dresden, new musical values must have worked against much of what Zelenka most esteemed. Into his musical style, so rich in expressive harmony, with bass lines strong in their movement, unusually balanced phrases, and melodic motifs bursting with developmental possibilities, had to be incorporated simpler, slower-moving harmonic structures, Trommelbass, symmetrical phrases, and above all, supremacy of the melodic line. One suspects, moreover, that the language of liturgical Latin texts aroused more musical ardour in Zelenka than did secular Italian.
Afterlife
Authors: Stockigt Janice B
Published: November 2023

On the immediate fate of Zelenka’s music much reliance must be placed on the work of Moritz Fürstenau (1824–89) who, at the time of writing Zur Geschichte der Musik und des Theaters am Hofe zu Dresden, was curator of the Royal Private Music collection.1 In this work, Fürstenau wrote: ‘After the master’s death, his complete musical estate was bought and integrated into the Royal Music collection of Dresden where it [remains]’2. Fürstenau further informs us that following the death of Maria Josepha (1757) her rich music collection, which included works of Zelenka, was divided between the library of the Dresden court church and her daughter-in-law, the musically talented Maria Antonia, the young widow of the Electoral Prince Friedrich Christian.3 Zelenka’s liturgical music, according to Fiirstenau, continued to be heard in the Catholic court church of Dresden at least until 1763;4 evidence exists that it was performed beyond that year.5
A
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Aarestrup, Jens Peder Smidt (b 1827-d Bergen?, 1893). Maker of upright pianos at Smaastrandgaden 9 in Bergen, Norway. Aarestrup’s factory was established in 1857 and sold to H. S. Riisna:s in 1886. (Kjeldsberg/ PIANO, 85) Abate, Stefano (fl. late 1830s to c.1853). Dealer and maker in Milan. In the late 1830s Abate and Caspar Lorenz held a patent for soundboard improvement.
C
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Cadby, Charles (fl. 1839-85). The Charles Cadby Patent Pianoforte Manufactory was first listed at 21 Alfred Street, Tottenham Court Road, Bedford Square, in London. From 1848 to 1863 the firm was listed at several numbers in Liquorpond Street (e.g. 33½, in 1850, and 38 and 39 in 1855). By 1860 they had added 42 New Bond Street, and in 1869 their address was Little Tothill Street, Little Grays Inn Lane. Renamed Charles Cadby and Son, the company listed their address as ‘Near Addison Road Station’. Charles Cadby and Co.
D
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Dainty, William, and Harrison (fl. 1843-71). London piano makers, listed at 29 Newman Street, Oxford Street. (Harding/PIANO, 408) William Dainty was listed alone in 1850. (PO 50)

Dale, Daniel (fl. 1835—74). London piano maker, established at 6 Surrey Grove, Old Kent Road. After 1837 he was listed on Wellington Place, Albany Road, Old Kent Road. (Rob 40, Wat 55) The address was modified in 1860 to 3 Albany Road, Camberwell.
H
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Haake, Karl (est. 1836). Maker in Hanover, Germany. (Dolge/Pianos, 447) Hack, Robert if!. 1839—42). London maker at 22 Bedford Street, Bedford Row, and 4 Gray’s Inn Passage (Pigot 39; Rob 40) and later at 4 Gray’s Inn Passage. (Harding/ Piano, 411)
K
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

K & C (Klauber, or Kleber, & Colby?). Dolge identified the partners of the K & C firm as Klauber & Colby. No reference could be found to Klauber; however, there was the firm of H. Kleber & Bro. in Pittsburgh, and Colby was located in Erie, PA. The University of Cologne, owners of the piano listed below, do not give any details of the makers or the place of manufacture. If the piano was made in the United States, the makers were probably Kleber and Colby. See Kleber, H., & Bro.
M
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Maas,]. (fl. c.1852). Maas, active in Berlin, Ontario, is said to have made the first Canadian upright piano. (Kelly/Downup, 114) Mccullough. (fl. 1850s). Maker in Belfast, Ireland. (Ehrlich/Piano, 34). McDonald,James andJohn (fl. 1847 [or 1845]-70). Piano makers in New York. Calling their firm by different names — McDonald &Brother, McDonald Brothers, and McDonald & Company — these brothers remained in business for more than twenty years. In 1853 they exhibited a piano at the New York Crystal Palace.
N
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Nachtsheim, Christophe (b Bonn, 1793—d Brussels, 1861). German maker active in Brussels, where he worked from about 1837. Nachtsheim was associated, probably as a journeyman, with the maker Herman Lichtenthal until about 1850, when he opened his own shop. In 1859 his address was 13 rue de Louvain. At his death his son Theodore (fl. 1861—after 1875) became head of the firm.
O
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Oakey, Henry (fl. 1839-40). London maker at 2 Charlotte Strret, Fitzroy Square. (Harding/PIANO, 418) Oakes,Joseph (fl. 1835—36). Piano maker, who worked for Henry Pilcher in Newark, NJ, in 1835-36. (Kaufman/MUS,30)

OBENDRAUF, Joseph Valentin (fl. c.1837). Viennese maker. Obendrauf patented a piano with narrower keys than normal, designed for children’s use.
S
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Sachmeister. See Sakmeister, Charles S. Sachs (Sax), Conrad (fl. c.1820-21). Piano maker in Vienna. (Ottner/Wien, 125) Sachsossky. Maker in Kassel. (Dolge/Pianos) Saether, R. E. (fl. 1844-1880s). Maker of upright pianos at Mø llergt. 15 in Christiania (Oslo), Norway. He might be the partner Saether in the firm Srether & Koch, listed in the Norwegian Hande!skalendar of 1866— 67 as proprietors of a piano factory in Thv. Meyers gt. in Christiania. Another partnership, that of Srether og Berg, were connected to the firm of the Brndrene (Brothers) Hals.
V
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Van Baun, Peter (fl. c.1850). One of the ‘small makers’ who were active in New York. (Spillane/HIST, 197) Van De Kerckhove (fl. c.1855-58). Van de Kerck-hove is mentioned in Michel as a maker of uprights and perhaps other types of pianos in Paris.
W
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Waarum, C. F. (fl. 1830s; d 1839). Piano maker in Christiania (Oslo). Waarum was a builder of square pianos. (Kjellsberg/PIANO, 85) The first two pianos listed below have been redated from Clinkscale/Makers i. Date: c.1830 Present Owners: Norway/Oslo: Norsk Folkemuseum, no. 116 References: Clinkscale/Makers I. 307, No. 1 Ep 3878 Date: C.1830 Present Owners: Norway/Trondheim: Ringve Museum, No. Rmt 650 References: Clinkscale/ Makers I.