bluuebunny/crossref_metadata_2025 huggingface dataset:
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

For Tovey’s occasional newspaper work as commissioned by the Times Literary Supple ment from 1902 to 1911, and by that publication together with The Times itself and the Daily Telegraph from 1926 to 1934, see pp. xl-xlii above. The pieces reprinted here are in chronological order; sources are given in footnotes; the titles are as in the sources. See also the note on Editorial Policy in the preliminaries to this volume.
Herr Nikisch (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The orchestral conductor has an enormous advantage over most interpretative artists, for he needs no mechanical technique and his whole training is devoted to the development of mental and personal faculties. He, of all performers, must be a musician, and the other necessary qualities that are not purely musical are those that make a teacher, an organizer, and leader of men. Hence it is rare to find among orchestral conductors the failings that are most character is tic of instrumental virtuosos.
Thorough-Bass (1931)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

According to Richardson, Clarissa Harlowe, among her other accomplishments, wrote a song: words, melody, thorough-bass, and all.2 Richardson himself acknowledges the help of a clerical friend in this composition, and perhaps it is one of the more idealized details in the portrait of his heroine. Never the less, there it stands in unabridged editions of Clarissa, and it does credit to her and to Richardson’s musical adviser. But it is not mentioned in Mr Arnold’s monumental treatise.
Ludwig van Beethoven (1770-1827)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Ludwig van Beethoven’s family is traceable to a village near Louvain, in Belgium, in the seventeenth century. In I 6 50 a lineal ancestor of the composer settled in Antwerp. Beethoven’s grandfather, who came to Bonn in 1732 and became one of the court musicians of the archbishop-elector of Cologne, was an amiable man whom Ludwig van Beethoven, though only 4 years old when his grandfather died, remembered with affection to the end of his life. Beethoven’s father, a tenor singer at the archbishop-elector’s court, was a bad tempered man whose wage-earning capacity declined with his ability to keep sober.
Felix Mendelssohn (1809- I 847)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The German composer Felix Nlendelssohn, grandson of Moses Mendelssohn, was born in Hamburg on 3 February 1809. His father, Abraham Mendelssohn, caused Felix, with his brother and two sisters, to be baptized as Lutheran Christians; and during the French occupation of Hamburg the family migrated to Berlin and lived with Abraham Mendelssohn’s mother. Under the teaching of their mother and of other good musicians, Felix and his sister Fanny (some of whose compositions are included in Mendelssohn’s songs and Lieder ohne Worte) soon showed extraordinary musical talent.
Wolfgang Amadeus Mozart (1756-1791) [The Operas And The Requiem]
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The first period in Mozart’s development must be taken seriously as beginning at the age of 5 and merging into the second somewhere about the age of 16 or 17. It was fortunate that the infancy of the sonata forms coincided with the infancy of Mozart; for in no earlier or later epoch could his juvenile work have had so normal a relation to the musical world at large. The little pieces com posed by Mozart in his fifth and sixth years show an unswerving progress in which every step is represented, and the same mistake is never made twice, nor is a form once mastered ever repeated mechanically.
Giovanni Pierluigi da Palestrina (152 5-1594)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Giovanni Pierluigi da Palestrina, the Italian composer, was born in Palestrina (the ancient Praeneste), at the foot of the Sabine mountains. He appears in the musical publications and other documents of his day under all manner of designations derived from his birthplace and his baptismal names. The full Latin signature is Johannes Petraloysius Praenestinus; and the most elusive designation is Gianetto, which has sometimes concealed the authorship of a first-rate Palestrina madrigal.
Music in Being: The Cramb Trust Lectures in Music, University of Glasgow, 1925
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Sir Donald MacAlister, ladies and gentlemen, it is with very great pleasure that I begin to have my first experience of addressing this audience; and it is with great pleasure, and with some trepidation, that I succeed to the two British musicians, educators and organizers, composers and performers, who have preceded me in this Lectureship. 2 They have covered the ground in their different ways so thoroughly as to make it difficult to find a fresh ground.
Note on the Text
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

For Tovey’s miscellaneous essays and lectures, see pp. xlv-xlvii of the Introduction above; and see also note on Editorial Policy in the preliminaries to this volume. The items, which span the author’s writing career, are arranged chronologically. Titles are as in the sources, unless otherwise indicated in the source note.
On the Performance of the St Matthew Passion (1914)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Whereas in many performances of the St Matthew Passion-including earlier ones here in Aachen-only the organ was employed to realize the continua (or figured-bass) part, in the forthcoming performance the pianoforte will also be introduced, to achieve a rendering as faithful as possible to Bach’s own practice and aesthetics. But first a brief description of the way in which this is to be done; it will then be seen that using the pianoforte in addition to the organ represents neither a new interpretation nor an uncritical attempt inappropriately to yoke together traditional methods and present-day circumstances.
Essay before the Brahms Clarinet Sonatas (1916)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The two Clarinet Sonatas of Brahms form, with the Clarinet Quintet and Trio, a remarkable body of work displaying the power a fine player may have to inspire a composer. Brahms’s treatment of the clarinet in orchestral music had always shown a sympathetic understanding of it, but no special predilection such as Mozart displayed when he could be sure of having clarinets at all. An instrument in the orchestra is, however, a very different thing from the same instrument in chamber music; and wind instruments in chamber music present the composer with very sharply defined special problems, which he would hardly be tempted to work out without some equally definite special stimulus.
Domenico Scarlatti and Claude Debussy: Some Parallels and Contrasts (1916)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

When current opinion has stamped its own age as an age of progress, it is apt to believe that present habits and thoughts are invariably free, while all past habits and thoughts are conventional. The recent publication (by Messrs Ricardi [in 1906-8], with the editorship of Signor Longo) of the first complete collection of Domenico Scarlatti’s harpsichord works is an event conducive to sound doc trine and suitable to these times. The public spirit which inspired Signor Longo to carry through the editing of these 545 pieces deserves that much indulgence should be shown towards many features of his work that are open to criticism. Such features are, one and all, rendered innocent by the supreme merit that wherever he has altered his text he gives the original in a footnote.
The Concept of Music
Authors: Maconie Robin
Published: November 2023

What is music for? How does it work? What can it teach us? Intuitively, we feel there must be answers to such questions, but they tend to be scattered throughout a wide range of different areas of study, from acoustics to music history, from psychology to composition. In this brilliant and thought-provoking book Robin Maconie seeks the answers to these and other fundamental questions about music, integrating music and appropriate scientific research in a new evaluation of his topic. In so doing he argues passionately for a reappraisal of music, not as mere entertainment, but as something basic to our experience of listening and communicating sound, and an art which has exerted a profound influence on society.
Orchestra
Authors: Maconie Robin
Published: November 2023

The symphony orchestra is a hybrid. Some instruments are old, some are relatively new. Some are for melody, some for noise; some are loud and some are soft; some are played with the hands and some with the breath; some are for singing and others for rhythm. There are instruments from the East and instruments from the West, some virtually unchanged from ancient times and others embracing the most up-to-date technology. An orchestra today is a compendium of civilizations. Why do we need it?
Space
Authors: Maconie Robin
Published: November 2023

To oral cultures space and time are equivalent. A journey is measured in hours or days as readily as inyards or miles. The global village of today calculates distances in time zones. The acoustic element linking perceptions of time and space, literally and figuratively, is the bell. Bells in steeples used to give the signals which called village communities to work, rest, and prayer. When the clock took up residence in the church steeple like a mechanical cuckoo in the nest, the bells of time lost their earlier direct relationship with the natural cycles of rural activity. Time-keeping nevertheless remained a local affair until mass transport and mass communications imposed regional standards. The unmistakable sound of Big Ben today signifies more than the hour of day. To radio listeners around the world the precise hour of day in Britain counts for little: the sound is valued for its ancient and symbolic associations of Crown and community, as well as for its present-day associations with the idea of parliamentary government and British law.
Belief Systems
Authors: Maconie Robin
Published: November 2023

There is an entirely rational explanation behind the Greek, doctrine of the music of the spheres, and it is fascinating to observe how its meaning is gradually distorted down the centuries from the time of Plato to the Renaissance, a change documented in Joscelyn Godwin’s useful anthology Music, Mysticism and Magic. In essence, the music of the spheres draws an analogy between the harmonic vibrations of a string or natural trumpet and the coexisting cycles of the observable world. A musical tone expresses a system which is dynamic-in audible motion-and at the same time stable, its structure of vibration remaining constant. The many different harmonics of a musical tone interact in a mutually supportive way.
Instruments
Authors: Maconie Robin
Published: November 2023

Revision. Music involves tone production, and the production of tones of discernible pitch is the primary function of a majority of musical instruments. For melody and harmony to be created and perceived, there has to be a means of generating a range of pitches whicµ are obviously different from one another, but nevertheless sufficiently related to sound well together. The concept of a verifiable pitch entails a ‘steady-state’ vibration, and the term steady-state implies a certain minimum duration, both for the vibration itself to achieve a steady state having been disturbed into motion, and also in order that the ear may have time to register the fact that the sound in question is indeed relatively unchanging in frequency.
Applause
Authors: Maconie Robin
Published: November 2023

Perhaps the most powerful argument for treating music as entertainment is the impossibility of accounting satisfactorily for a response to it on a higher plane. The language of concert reviewing has to be simple, so it tends to avoid concepts and stick to impressions; it is also after the fact. Specialist commentary, on the other hand, is difficult to read, often remote from music as an acoustic experience, and directed to marginal issues. There seems to be no way of reconciling a personal conviction that music treats important questions seriously, and at a high level of discourse, with a descriptive language of a dear and non-specialist kind. Since a specialist knowledge is not required of listeners who respond to music on a non-trivial level it seems rather unfair to insist that their responses can only be discussed in the arcane language of a music theory, specialist psychology, or isolated neurological principle.
Père Franck and the Abbé Liszt
Authors: Thomson Andrew
Published: November 2023

On his return to Paris after the ‘Bloody Week’ of May 1871, during which the troops of the Versailles government had crushed the Paris Commune with merciless severity, d’lndy was confronted by a terrifying scene of damage and destruc tion. Raging fires had reduced many buildings like the Tuileries and the Hotel de Ville to smouldering ruins. Doubtless the military man in him would have agreed with the grim verdict of the Goncourt brothers that ‘The solution has restored its self-confidence to the Army, which has learned in the blood of the Communards that it was still capable of fighting’.
Asceticism Meets the Orient
Authors: Thomson Andrew
Published: November 2023

It is little wonder that Fauré called d’lndy ‘the Samson of Music’. In addition to the burgeoning work and scope of the Schola Cantorum, the decade of the 1890s witnessed him equally active as a composer, a conductor, and a tireless champion of French music. He was, indeed, increasingly becoming the pillar of the progressive musical scene, and, at this stage in his life, his generous—even paternalistic—attitude attracted a great deal of goodwill.
Mozart and Vienna
Authors: Steptoe Andrew
Published: November 2023

Our views of Mozart’s years in Vienna are indelibly coloured by the series of begging letters written to his fellow Freemason, Michael Puchberg. Mozart began the correspondence in 1788 with nonchalant requests for money, but descended rapidly to urgent, pathetic appeals for amounts as small as 10 gulden. The impression of abject poverty and misery is reinforced by the fact that the composer was buried in a common grave, without even the dignity of a tombstone or monument. Yet the Viennese decade (1781-1791) was the period during which Mozart enjoyed some of his greatest triumphs, not only in the Opera House but on the concert platform. At various times he earned considerable amounts of money and lived stylishly. How can these extremes be reconciled? An explanation of this anomaly is essential for comprehending Mozart’s aspirations, and his intentions in the operatic collaborations with Da Ponte.
Mozart and Opera Buffa
Authors: Steptoe Andrew
Published: November 2023

Mozart had developed firm ideas about opera long before his collaboration with Lorenzo Da Ponte. The perennial controversy resurfaced during the second half of the eighteenth century between those who asserted the primacy of music in opera, and traditionalists who valued the poetry of the libretto most highly. After decades during which a composer’s highest ambition was to set one of Metastasio’s sanctified texts, musicians were beginning to recognize the possibility of a more flexible operatic art. Mozart identified with this reforming force, and was in no doubt that the music came first:
Cosìfan tutte
Authors: Steptoe Andrew
Published: November 2023

A series of drastic changes overtook Mozan during the period between Don Giovanni (1787) and the production of Cosìfan tutte in 1790. As the public’s interest in his keyboard virtuosity faded away, Mozart’s personal health and financial security deteriorated (see Chapter 3). His despondency was further exacerbated by the failure of the tour through northern Germany in 1789. Perhaps the most disturbing trend of all was the loss in creative confidence that took place over this period. The catalogue of works from 1789 and 1790 is unusually thin (see Table 3), and Mozart had difficulty in completing many pieces. For example, the first movement of the Clarinet Concerto dates from the end of 1789, when it was evidently intended for a basset horn soloist (K. 584b).
The Workshop
Authors: Barclay Robert
Published: November 2023

The two direct depictions of the trumpet-maker’s workshop are by Weigel of 1698 (Fig. 30) and Diderot and d’ Alembert of c.1765(Fig. 31). Of the two, Weigel is the more appropriate in date and location and would be of the most use were it not for the untrustworthy rendering of some details. It is easy to confuse realistic appearance in an illustration with accurate depiction. (This has led to the reconstruction of som(: pretty fantastic musical instruments.) Although the Renaissance ideal of rendering from experience supplanted the medieval concept of working from an exemplum >(Panofsky, 277), this does not mean that the information in graphic studies became suddenly more reliable.
Proportion and Motive in Webern’s Earliest Trakl Fragments
Authors: Shreffler Anne C
Published: November 2023

Webern sketched his first Trakl poems in January 1915, after rereading Trakl’s first volume of poetry, Gedichte (1913), in response to news of the poet’s untimely death two months earlier. From this volume he chose two poems, ‘In der Heimat’ and ‘In den Nachmittag gefhistert’, but never completed them. Both fragments reveal much as interesting failures, but ‘In der Heimat’ is intriguing for several reasons. First, the two-page fragment seems self-consciously long, especially compared to Webern’s previous aphoristic mode of ex pression. Second, as Webern’s first Trakl setting, it bears the awkward traces of his first coming to terms with the ambiguities and challenges of Trakl’s poetic language. As Webern experimented with various strategies to project the poems’ metre, stanza structure, individual words, and moods, he began to develop a more conventionally motivic technique that would allow him to write longer pieces.
‘Nachts’ and ‘Sonne’
Authors: Shreffler Anne C
Published: November 2023

One week after ending his two-year struggle with ‘Gesang einer gefangenen Arnsel’ in July 1919, Webern quickly completed another Trakl poem, ‘Nachts’ (At Night) in only a sitting or two. With this two-page continuity draft, Webern returned to the aphoristic dimensions of much of his pre-World War I music. Yet within the piece’s approximately 30-second duration we do not hear the subtle whispers of the earlier miniatures; instead, Webern builds a dense four-part texture in which each instrument and the voice are stretched to their practicable extremes of range and flexibility. Webern’s setting undermines the strict, symmetrical four-line structure of the poem by blurring the ‘frame’ of beginning and ending, and by avoiding clear parallels between words and images in the service of a powerful musical idea.
The Organization of the Four ospedali
Authors: Baldauf-Berdes Jane L
Published: November 2023

Their Hospitals, the best endowed in all Italy, speak their Liberality & Alms, especially that which they call La Pietà, in which all exposed children are provided for with care, though sometimes their number has been so great as to amount to 6000. In which thing they have expressed great gratitude to God, and mercy to Mankind, by saving or rather giving new life to thousands of poor innocent Babes, thrown daily, by the Courtesans into the Canals of the Town, where without this provision they would certainly perish.
Cultural and Ethnic Interaction in Ottoman Jerusalem
Authors: Hirshberg Jehoash
Published: November 2023

The nineteenth century was a momentous period in the history of Palestine. Having suffered neglect for three centuries as an underpopulated remote province of the Ottoman Empire, the strategic location and economic potential of Palestine was revealed as a consequence of the Napoleonic and Egyptian invasions, although these occupations were brief.1 The re-establishment of Ottoman rule was followed by major administrative reforms which effected a relative improvement of living conditions and encouraged immigration, pilgrimage, tourism, and interaction with European expertise and culture.
The Temple of the Arts Dream and Nightmare
Authors: Hirshberg Jehoash
Published: November 2023

It must have been the state of euphoria of the impoverished Yishuv at the end of World War I which stimulated the author Jacob Koplewitz to claim that “there are enough musical forces [in the country] for a joint musical venture such as the beginnings of opera, or serious symphonic music … but we badly need additional talents. May all those who chance our shores stay here.’1
Music of the People Music for the People
Authors: Hirshberg Jehoash
Published: November 2023

The inauguration of the Society for Jewish Folk Music in St Petersburg in 1908 marked a turning-point in the modern history of the music of the Jews.1 From Russia its sphere of influence spread to central Europe. It then invaded Palestine, and its reverberations were felt in America as well.
My Heart is in the East
Authors: Hirshberg Jehoash
Published: November 2023

Rabbi Yehudah Halevi’s verse “My heart is in the East and I am at the edge of the West’1 embodied the dream of the Diaspora Jews to return to their ancient homeland. The national revival has transformed the East from a dream into a reality, urging artists in all fields to abandon vague orientalism and face the properties of the real East.
Between East and West: The Ideological Strife
Authors: Hirshberg Jehoash
Published: November 2023

Would any piece by a Jewish composer qualify as Jewish music or should it also feature specific Jewish properties? And if Jewish pro perties are required, what would they be and who would determine them?
Introduction: Some Traditions
Authors: Wiley Roland John
Published: November 2023

B E F o RE setting out, we must consider in some detail three topics which are essential preliminaries to an understanding of Tchaikovsky’s ballets. Two of these-the ballet audience and the collaboration of ballet master and composer-are liable to some misunderstanding.
Some Historical Considerations
Authors: Solum John , Smith Anne
Published: November 2023

Of all the musical instruments which we call ‘modern’, perhaps none has changed more radically from its historical precursors than the transverse flute. To begin with, a visual comparison alone offers striking differences. The modern flute is usually made of metal and has complicated fingering mechanisms soldered to the tube. Renaissance, baroque, and classical flutes, on the other hand, are made of wood or ivory and are notable for their simplicity of design and comparative lack of mechanical devices. For much of the first half of the twentieth century (especially in the period between the two World Wars), the old-style flute was generally considered to be a historical curiosity and a museum piece. These were the years when the Boehm-style flute achieved virtually universal acceptance by professionals.
The Baroque Flute
Authors: Solum John , Smith Anne
Published: November 2023

The baroque flute emerged around 1670 and gradually evolved through several stages before becoming the classical flute in the second half of the eighteenth century. While it is easy to describe this evolution in general terms, it is more difficult to be very explicit about its development. Almost no surviving baroque flutes are dated. No baroque flute-maker’s diary is known to exist. No patents were issued. We must depend almost entirely upon known working dates of makers, iconography, and a few written commentaries to trace this development.
Buying an Instrument
Authors: Solum John , Smith Anne
Published: November 2023

The acquisition of a good instrument is an important and necessary step in undertaking the study of the traverso. No single instrument will play everything equally well; experienced players generally have a variety of instruments for use as the nature of the music requires one playing quality or another. A typical collection of a professional player might include a three-piece French baroque instrument of the Hotteterre type, pitched at A=392; a four-piece baroque flute suitable for Bach and Handel, modelled after originals by Bressan, Stanesby, jun., or Scherer, with a pitch of about A=415; and a classical flute of from one to eight keys based upon original designs by Heinrich Grenser, Kirst, or Tromlitz, playing at a pitch of around A=430 and suitable for Haydn, Mozart, and Beethoven. Some of the replicas of mid-eighteenth-century instruments by makers such as C. A. Grenser or Rottenburgh can serve to play music of both the baroque and classical eras; in this case, modern makers provide corps de rechange to enable the instrument to play at different pitches, as required.
Music Encyclopedia
Authors: Crookes David Z
Published: November 2023

The names, playing techniques, and individual properties of all ancient and modern musical instruments-little-known foreign and folk instruments, as well as the familiar instruments used in European art music-together with scale drawings:then, in addition,detailed information about ancient and modern organs: their manual and pedal keyboards, their bellows, and the different kinds of stops disposed in them;
Oberto Conte Di San Bonifacio
Authors: Budden Julian
Published: November 2023

A certain air of mystery surrounds Verdi’s first published opera. It is the only one whose literary source cannot be traced; and recent scholars have been in some doubt as to whether or not it is remodelled from an earlier one. In the biographical summary that he gave to Giulio Ricardi in 1879 Verdi is quite explicit. During his student days at Milan he had been introduced by his teacher Lavigna to the Philharmonic Society, one of those associations of aristo cratic dilettanti that formed the chief basis of concert life throughout Austria during the years that spanned the decline of the private musical establishment and the rise of the professional orchestra. At the time they were rehearsing Haydn’s Creation. One day, in the absence of one of their regular maestri, the director, Pietro Massini, asked Verdi to accompany from the piano, feeling unequal to the task himself.
I Lombardi Alla Prima Crociata
Authors: Budden Julian
Published: November 2023

Nabucco was, essentially, the beginning of Verdi’s star career. It was also the end of Giuseppina Strepponi’s. Although she was not yet thirty, ten years of unremitting stardom (interrupted by no less than three childbirths) had reduced that golden voice to a thread and now threatened the singer with consumption. She was in no position to do justice to the part of Abigaille. ‘Even that Verdi of hers didn’t want her in his opera ⃛’ wrote Donizetti after she had given a very feeble performance in his Belisario.* ‘That Verdi of hers’—prophetic words! But in 1842 they probably mean no more than ‘that Verdi she’s always talking about’. In other words she was one of Verdi’s earliest supporters, and after her partial recovery the few appearances that she made were nearly all in operas by him. As a star, even though on the wane, she was able to give him practical help.
Attila
Authors: Budden Julian
Published: November 2023

One of the inconveniences that Verdi had to endure after the success of Ernani was the importunity of Giovannina, wife of the publisher Francesco Lucca, Ricordi’s chief rival in Milan. Her husband, it seems, could not sleep for thinking of all the money he was losing through not having an opera of Verdi’s to publish. ‘When we are in bed,’ she told the composer, ‘he does nothing but sigh and groan all night.’* At the time Verdi got rid of her by a coarse joke. But by January the following year Muzio was able to announce that ‘the editor Lucca has at last got the ownership of an opera of the Signor Maestro’s; it will be the one for Venice for carnival next year.
I Masnadieri
Authors: Budden Julian
Published: November 2023

I Masnadieri, like Macbeth, originated in the convalescent holiday that Verdi spent with Andrea Maffei at Recoaro after the production of Attila in 1846. With Maffei at hand as librettist it seemed the most likely priority for Florence next year; so Verdi set to work on it in the autumn, and appears to have composed a good part of the libretto before he heard that the tenor Fraschini would not be available for the part of Carlo. He then postponed it for what promised to be a more momentous occasion: his first premiere outside Italy, to be given at that ancient stronghold of Italian opera abroad, Her Majesty’s Theatre, the Haymarket, London.
La Battaglia Di Legnano
Authors: Budden Julian
Published: November 2023

Verdi’s next two operas have a mutually entangled history. At the time of the production of Alzira Verdi had signed a contract to write another opera for Naples in the summer of 1847.* He then spent the next three years trying to withdraw from it on one pretext or another, partly because of the attention he received from the Neapolitan columnists, partly because, as he told Count Arrivabene, ‘the censor ship is too strict to permit interesting subjects’.t The events of 1848 gave him the excuse he wanted. After five days of street fighting the Austrians were driven from Milan by the citizens in revolt; Venice threw out its Austrian governor and proclaimed a republic; the Duke of Parma fled into voluntary exile; the King of the Two Sicilies was obliged to grant his people a constitution. In the general turmoil the management of the San Carlo Theatre changed hands, and Verdi, receiving no word from the new impresario, regarded his contract as null and void.
Formation of the Mature Style
Authors: Budden Julian
Published: November 2023

By 1850 Verdi enjoyed one material advantage over his colleagues: he was a man of property. He could, like Rossini, have retired from the theatrical world altogether as he had so often talked of doing- and was so to talk to the end of his career. In fact he merely accommodated his rate of output to the incidence of inspiration. Luisa Miller inaugurated a period of astonishing fertility that came to an end with La Traviata. Then the pace slackened; yet each successive opera was to encompass an ever widening range and depth of ideas so that poor Basevi, whose discovery of Verdi’s ‘second manner’ in 1849 has provided all subsequent writers with a useful point of reference, was driven to discover two further manners* in a study which stops short of Un Ba/lo in maschera.
Les Vêpres Siciliennes
Authors: Budden Julian
Published: November 2023

To conquer the stage of the Paris Opera at some point in his career was a necessity felt by every Italian composer who aspired to international fame. The advantages it presented have already been mentioned in Vol. 1 - a greater variety of musical forms than were available at home, a wealth of choral and instrumental resources, more interesting libretti free from the shackles of the Italian convenienze, and above all an audience eager for novelty. It represented a challenge, similar tp that of the symphony for the German romantic, and on the same analogy not to be undertaken lightly or without due preparation. Verdi had chosen the cautious approach of Rossini and Donizetti.
Simon Boccanegra
Authors: Budden Julian
Published: November 2023

At the beginning of 1855 while rehearsals for Les Vêpres Siciliennes were in progress Verdi twice refused an invitation to compose a new opera for the Teatro la Fenice, Venice, for the following year. ‘Various future plans stand in the way; but ifl am to be frank the chief obstacle is my unshakable determination not to bind myself any more to a definite period for either the composition or the production.’*
Aroldo
Authors: Budden Julian
Published: November 2023

That he would need to alter the final scene of Stiffelio if only for reasons of censorship had been made clear to Verdi soon after its first performance at Trieste; and a performance in Bologna in 1852 seemed to offer the right opportunity. Unfortunately the impresario, Lanari, had already decided to use the already bowdlerized version, Guglielmo W ellingrode, in which the German pastor is turned into a minister of state. Verdi would have none of it.
The Operas of Verdi
Authors: Budden Julian
Published: November 2023

This is the third volume of Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference work on its subject. For this new edition the author has made a host of corrections throughout, and updated the text in the light of recent scholarship. Volume 3 covers roughly a quarter of a century, a period which saw grand opera on the Parisian model established throughout Italy, the reform of the Conservatories, and the spread of cosmopolitan influences to an extent that convinced many that Italian music was losing its identity. Verdi produced his four last and greatest operas - Don Carlos, Aida, Otello, and Falstaff - in this period, which ended with the advent of `verisimo', in which a new, recognizably Italian idiom was inaugurated. This volume also includes a new and substantial bibliography by Roger Parker.
‘The Songs of Solomon’
Authors: Harrán Don
Published: November 2023

All of Rossi’s collections are interesting for one or another reason, but ‘The Songs of Solomon’ are unique for being the first know Collection Of Polyphonic works set to Habrew texts. That in itself lends them historical significance. They stand out, further, for having a multipartite introduction of a length and complexity rarely to be encountered in the sacred musical repertory of the sixteenth and seventeenth centuries. In effect, the collection is a composite of apologetics and music, in which the various historical, literary, social, religious, and liturgical problems addressed in the introduction bear directly on the musical contents.
Introduction
Authors: Stein Louise K
Published: November 2023

Since the pioneering work of the erudite Francisco Asenjo Barbieri (1823-94), the topic of music in the seventeenth-century Spanish theatre has generated considerable interest and scholarship, particularly in Spain.
Music 1n Masques and Early Court Spectacle Plays
Authors: Stein Louise K
Published: November 2023

The political circumstances of the early decades of the seventeenth century, the taste and attitudes of the royal patrons, the force of established musical and theatrical traditions, the structure of the court’s musical establishment, and the effect of an austere court etiquette all contributed to the relatively late development of Baroque genres of musical court theatre in Spain.
Calderón’s Early Court Plays for Philip IV
Authors: Stein Louise K
Published: November 2023

The first Spanish dramatist who succeeded in creating a musico-dramatic genre that combined with baroque exhuberance the Italianate visual effects with the dramatic intensity of the comedia, and exploited the affective and associative potential of contemporary Spanish music was Pedro Calderón de la Barca (1600-81).
Caldcronian Semi-opera
Authors: Stein Louise K
Published: November 2023

As described in the preceding chapters, the development of Spanish theatrical music between 1598 and 1650 was affected by a number of social, economic, cultural, political, and administrative factors of local importance. Chief among these were the continued influence of the comedia and the conventions and practices of an unbroken musical tradition for secular song.
Opera, Spanish Politics, Spanish Conventions
Authors: Stein Louise K
Published: November 2023

With the court stages dedicated to zarzuelas, semi-operas, and comedias opera was not the genre of choice in Spain in the seventeenth century. However, three operas were produced during the reign of Philip IV. These were exceptional for the seventeenth-century Spanish stage only because they involved a dramatic text wholly performed in song; the element of elaborate spectacle associated with Baroque opera was not a detrimental factor.
Zarzuelas and Other Short Musical Plays for the Court, 1650-1690
Authors: Stein Louise K
Published: November 2023

Zarzuela is the genre most strongly identified with Spanish national musical theatre, and (as opposed to opera and semi-opera) it has survived and flourished beyond the later seventeenth century. The zarzuela was probably invented by Calderon. It originated as a form of court theatre for Philip IV, perhaps as an alternative to semi-opera. The weighty and complex nature of the semi-opera, and the considerable demands that it placed on the performers, may have deterred Calderon from exploring that genre further.
The Musical Legacy of the Hidalgo Era
Authors: Stein Louise K
Published: November 2023

The preceding chapters have focused on describing and documenting the history of music in the seventeenth-century Spanish theatre, the musical conventions operative in the theatrical genres, and the realization of these in extant pieces of music. Less attention has been given to attempting to define the musical profiles of individual composers, or, indeed, their contribution to the development of musical conventions and practices. Theatrical music has been viewed for the most part as a product of contemporary theatrical practice and aesthetics, a deterministic approach to which some readers may object. The reader may well ask how the agency of the busy composers and musicians of the court and public theatres, the actual creators of the music, enters into this textual and historical framework.
Musical and Autistic Behaviour
Authors: Alvin Juliette , Warwick Auriel
Published: November 2023

Music is a field of multifarious experiences which affect man’s mind, body and emotions. It may bring a change in the behaviour of the listener or the player. It penetrates the subconscious and can reveal much of what is hidden there. It can also develop awareness of the environment, whether the individual is so-called normal, or affected by an illness or a handicap. Music in its many aspects is an eminently flexible, adaptable means which can reach an individual at any level of intelligence or education.
Case Histories
Authors: Alvin Juliette , Warwick Auriel
Published: November 2023

Oliver was sent to me for music therapy by a consultant psychiatrist when he was just over eight years old. He had been twice diagnosed at the age of five and later at the age of seven as autistic and mute autistic. He suffered from noise phobia. He had been born with a cleft palate and operated on at an early age. Later on, as he seemed to be deaf, he was tested with a hearing aid. It is possible that his phobia was the result of this distressing experience. When he came to me he could not tolerate any noise, not even the sound of his own voice. He expressed himself with inaudible sounds or gestures. Even the anticipation of a loud noise would upset him and he covered his ears in panicky defence. His mother had observed in him at an early age a number of disturbing features, such as keeping awake the whole night, rocking, breaking windows, keeping his head down continuously, not looking, jumping from great heights without fear, moving objects aimlessly, running his hands over rough surfaces until they bled.
A Research Project
Authors: Alvin Juliette , Warwick Auriel
Published: November 2023

There search project’ which is the subject of this chapter was undertaken under the direction of the consultant psychiatrist of the Family and Child Guidance Clinic, and the Head of a primary school. It was conducted on three autistic boys between eight and eleven years old. The aim of the project was to try to help the boys to integrate into the normal primary situation by means of individual assistance given by home tutors and a music therapist. The parents were involved in the project and received help or even treatment at the clinic. The general aim was: to help the children to recover their spontaneity; to study and develop their individual potentials; to help them to catch up with their delayed emotional maturation. The greatest flexibility of approach and methods was essential to the success of the scheme.
A New Challenge
Authors: Alvin Juliette , Warwick Auriel
Published: November 2023

In September 1984 I began a new venture which was to prove a tremendous challenge to my development as a therapist. Until this time, my experience of autistic children had been in a hospital school where the children had severe learning difficulties in addition to the autistic state. This necessitated a more behavioural approach, particularly in the management of selfinjurious behaviour. I had to adapt my aims and objectives; e.g. music therapy might be effective in reducing the frequency of head-banging, although the expression and sharing of feelings remained at the centre of the therapy.
The Oxford History of English Music
Authors: Caldwell John
Published: November 2023

The Oxford History of English Music, Volume 2 takes the story of English Music from c.1715 to the present day. Apart from discussing the music of the principal composers, it focuses to a certain extent on the work of lesser musicians, and includes developments in light and popular music as well as in serious genres. After seven chapters in which the main events are considered chronologically, a further chapter deals specifically with folk music and popular music of all periods, and a final chapter covers social issues not otherwise handled in detail. There are over a hundred musical examples, illustrating all chapters except the last, and all based on original sources. Volumes 1 and 2 together offer a major survey of English musical history by a single author. British music outside England is not considered except where it is of direct relevance to the history of music in England; it thus differs in emphasis from most other works of the kind since Ernest Walker's History of Music in England, last revised in 1952 by Sir Jack Westrup (OUP).
Handel and His English Contemporaries, c. 1715–c. 1760
Authors: Caldwell John
Published: November 2023

The career of Handel in England in many ways anticipates that of a composer such as Mozart in youth or Haydn in his later years in its jettisoning of the constraints of service for the sake of independence and the risks and rewards of catering for the public taste. In this respect Handel’s own predilections coincided with the imperatives of English musical life, where the social and political structure did not allow of congenial long-term employment outside the increasingly humdrum routine of the royal court and chapel and that of the major churches. Handel had experienced a mixture of enterprise and short-term employment (with the marquis Francesco Ruspoli) in Italy, and had subsequently become Kapellmeister to the elector of Hanover, later George I of England. On his first visit to England Handel achieved enormous musical and social success, and this must have encouraged him to return, ostensibly for a second short visit, in 1712. Encouraged by his ready acceptance (he was given a pension by Queen Anne and commissioned to write a The Deum and Jubilate to commemorate the Treaty of Utrecht), he stayed on, only to be confronted, as we have seen, by the accession of George I. But any embarrassment this may have caused was soon dissipated, and Handel came to enjoy the highest official favour as well as considerable public esteem.
The Later Eighteenth and Early Nineteenth Centuries, 1760–1815
Authors: Caldwell John
Published: November 2023

Any chronological subdivision of the long period that separates the death of Handel from the first stirrings of what is generally called the English musical renaissance is bound to be somewhat artificial. There are few clear landmarks by which one might chart the calamitous decline that occurred between (say) the productions of Arne’s Artaxerxes in 1762 and of Sullivan’s Ivanhoe in 1891, to name the most ambitious operatic efforts of two highly talented men of the theatre. The solution adopted here, the last thirty years of the nineteenth century having been marked out as the arena for the conflict between high Victorian cultural values and those of its challengers, is to divide the remaining 11o years, 1760–1870, into two approximately equal halves. In this analysis the third chapter chronicles a gradual change in the threat to musical values from one of aristocratic trivialization to those of commercialism and puritanism in a bourgeois ascendancy.
Modernism and Postmodernism, 1976–1997
Authors: Caldwell John
Published: November 2023

Modernism’ and ‘postmodernism’ —terms used here in their primary sense as defining a culture or a style—do not fully account for the variety of musical language heard in this twenty-year period. There are also the older traditional forms of expression and the more innovative styles of ‘rock’ or ‘pop’, with which serious composers have sometimes attempted a rapprochement. Modernism itself, if it is a valid concept, is essentially a continuation of the old avant-garde—as practised, that is, by English (or British) composers in the 1950s and 1960s. As for postmodernism, it is inherently a cultural phenomenon rather than a technically exact expression: it articulates a sense that the cup of modernism, usually perceived as brutal, artificial, or nihilistic, has been drained to the full, and that the whole experience needs to be put behind one. It implies that truly modernist work—in music, architecture, fine art, or literature—is of limited absolute value, but that the experience of it, in an artist’s own work or in that of others, has had a purifying and liberating effect. Naturally no composer would wish to be associated solely with modernism so construed, and I have preferred the term avant-garde, where it seems appropriate, though more for its historical associations than in any literal sense. Nor do I single out a generation of postmodernists as such. Almost all, a few traditionalists excepted (and they too might contest the label), have been through the refining fire. The outcome is not a return to older norms but a redeployment of all available techniques and materials, often with disturbing effect but always with a sense of liberation.
Chant Genres
Authors: Hiley David
Published: November 2023

In this chapter I describe the chief genres, forms and styles, of chant in the Roman liturgy.The main genres are arranged according to their musical type. I start with the simple recitation formulas for prayers and lessons (11.2), and then go on to psalm tones and the more elaborate recitations for invitatory and responsory verses (11.3). After that I discuss the much more complex chants which retain elements of recitation patterns by marking syntactical units with typical melodic gestures: responsories, graduals, and tracts (11.4-5).
Facsimiles Of Chant Books
Authors: Hiley David
Published: November 2023

In a general sense a great part of the theoretical writing of the Middle Ages is of relevance to the plainchant repertory. For example, much could be made of the place of ‘music’ in the history of ideas in the Middle Ages, in the medieval cosmology. But this is not the place for such a demonstration, and no attempt can be made here to summarize all the possible themes. Instead, the following sections will comment on a restricted number of topics which touch directly upon chant composition and practice.
Plainchant up to the Eighth Century
Authors: Hiley David
Published: November 2023

Therest of this book is a survey which aims to provide a historical background to the previous parts. It is necessarily sketchy, both because of the nature of the evidence and because of the compression of material involved. Particularly for the early centuries, before music was notated, great care is required in considering the nature of whatever plainchant might have been sung. The issues are unusually complicated, much often depending on the interpretation of very brief references, or even single words. There is no space here for a detailed examination, and consequently no room for more than a rough indication of the directions in which recent scholarship has been moving.