bluuebunny/crossref_metadata_2025 huggingface dataset:
The Organist’s Place in Musical Performance
Authors: Hurford Peter
Published: November 2023

THE nature of music and its effect upon the spirit has inspired numerous essays, poems, analogies, and comments throughout the ages. The fact that its effect (varying from listener to listener) cannot be analysed beyond recognizable technical features has led men to describe it as ‘the divine art’–a phenomenon which defies identification. Philosophers have tried to pin down the innumerable facets of its appeal, and the application of rhetorical theory has led in the past to analogies with language. and even to rules for composition and performance derived from rhetorical theory.
A Basic Physical Approach to the Organ
Authors: Hurford Peter
Published: November 2023

THE mastery of any musical instrument requires a high degree of mental and physical co-ordination. For a keyboard player, the understanding and subsequent projection simultaneously of several lines of music, each with its own articulation and phrasing, adds to co-ordinative problems a dimension unknown to other performers. For the organist, who must often share several contrapuntal lines not only between ten fingers but with his feet as well, the degree of co-ordination required is greater than for any other musical performer (or indeed for any other occupation known to me).

In responding to such a challenge, the organist must learn to be an honest, self-critical listener; his own ear will be his best tutor, and its efficiency will improve with practice. However, first it might be helpful for him to consider several points of posture which are of basic importance to consistently good playing.
Quest for Leadership
Authors: Ehrlich Cyril
Published: November 2023

The year of Disraeli’s two nations, I 845, has already been identified as a turning-point in Philharmonic history. All manner of things fell apart and the directors seemed incapable of holding a plausible centre. Financial support collapsed, a mere 260 subscribers paying less than half the comparable figures of recent years. The Society’s image of excellence was badly dented, each concert bringing rancorous comment which rumbled on from criticism to diagnosis, prescription, and funeral oration.
Collapse
Authors: Ehrlich Cyril
Published: November 2023

I regret I must refuse your proposal to play the concerto of Beethoven without rehearsal. I mean that would not be respectful to the composition, nor for the old Institution of the Phil harmonic Society, nor for myself as an artiste. Therefore I must beg you to arrange a rehearsal ⃛ If you are not able to arrange it I much fear that I must decline playing.
Ending and Beginning
Authors: Ehrlich Cyril
Published: November 2023

In the immediate post-war years, when the contemporary history of Britain and of the Philharmonic, began, the nation’s thirst for "classical’ music was pronounced, and sometimes thought to be unquenchable. Orchestral concerts were preferred, consisting chiefly of a handful of romantic symphonies and piano concertos, the latter genuine or pastiche—Grieg, Tchaikovsky, Rachmaninov, "Warsaw’—given fresh endorsement by recently popular films.
Biography
Authors: Girdharn Jane
Published: November 2023

Stephen John Seymour Storace (1762-96) was one of the leading English composers in the last decade of the eighteenth century. Studies in Italy led to opera commissions in Vienna and a friendship with Mozart, then to a career as house composer at the Theatre Royal, Drury Lane, until his early death at the age of nearly 34. His brief career was both prolific and successful.
Music publishing In The Late Eighteenth Century
Authors: Girdharn Jane
Published: November 2023

The typical sequence to publishing operas in the eighteenth century is complicated by the number of different versions printed for various audiences. The words were published without music, both the complete libretto and the song texts alone, with different editors and publishers taking responsibility for the two versions. The music was published complete in a twostave reduction for voice and keyboard, and various numbers were also printed individually. English operas were never published with spoken dialogue and music together, nor as orchestral scores or parts.
Questions Of Genre
Authors: Girdharn Jane
Published: November 2023

In the eleven years of his career, Storace composed twenty stage works, most of them English operas with spoken dialogue. Unfortunately there has never been a consensus about what constitutes an English opera, nor any consistent terminology with which to discuss the genre. We therefore need to understand the flexibility of eighteenth-century attitudes, so that we can specify criteria by which to distinguish and name the various types of theatrical music of the period.
Afterpieces And Other Stage Works
Authors: Girdharn Jane
Published: November 2023

During his London career Storace composed eight afterpieces plus music for a number of other staged pieces. The scores of all but one of his afterpieces survive, along with some of the other larger works. His only ballet, Venus and Adonis (1793), was published in reduced score, and the play with music, The Iron Chest, was published posthumously in a volume with Mahmoud .
Borrowitngs
Authors: Girdharn Jane
Published: November 2023

An opera without some borrowed material was a rarity in late eighteenthcentury England. Composers of English operas regularly borrowed, arranged, and adapted existing material for their own operas. Storace was no exception, taking his cue from William Shield and Samuel Arnold, though they used different types of source material. They most often chose popular melodies to which they added new accompaniments, whereas Storaceborrowed most of his material from opere bujfe. Sometimes he used borrowed music with little alteration, but more often he made significant modifications to the original, fashioning the borrowed material to his own requirements and combining it with new music.
Parable Music II: The Church Parables
Authors: Elliott Graham
Published: November 2023

Cantata misericordium is a biblical parable which ends with a clear spiritual message; in this the work has a close relationship with the three Church Parables, the first of which (Curlew River) was written in the early months of 1964—less than a year after the completion of the cantata. Like the cantata, the Church Parables are set between a framing introduction and epilogue, in which the moral and spiritual message is expounded—respectively Faith, Hope, and Love. Robin Holloway finds this sequence ‘a little laboured’, since he believes that Curlew River embodies all three qualities. He goes on to suggest that ‘if the three parables have a common theme it is the drabbest stoicism: make do, knuckle under, hold fast, carry your burden, forgive and forget, dutifully kill the fatted calf’.
Parable Music IV: War Requiem
Authors: Elliott Graham
Published: November 2023

For Britten the pacifist, the folly of war was among the worst betrayals of innocence: the use of millions of young men as cannon fodder in a futile struggle which sought only to vindicate nationalist aspirations was an over- powering evil, and the reality and poignancy of that evil was epitomized by the writing of Wilfred Owen, whose life was wasted only a few weeks before the signing of the Armistice ended the First World War. The link between Owen, the pacifist chronicler of the First World War, and Britten, resulted in the creation of War Requiem, one of the most remarkable of the composer’s works.
The Shaftesbury Collection
Authors: Hicks Anthony
Published: November 2023

THE group of Handel scores first assembled by Anthony Ashley Cooper, 4th Earl of Shaftesbury (1711—71), was, until recently, the least known of the great Handel collections formed by the composer’s early patrons. It was said to have been preserved at St Giles’s House, the Shaftesbury family seat in Dorset, but no description of it had been published, and even its owner and his immediate predecessors were not fully aware of its contents. When finally brought to light it proved to be a remarkable combination of printed and manuscript scores covering the bulk of Handel’s output. The discovery of its full extent in 1983 was a happy precursor of the Handel tercentenary celebrations of 1985, but also led to changes. In 1987 most of the manuscript volumes were acquired by the late Gerald Coke and were moved to his Handel Collection at Bentley in Hampshire, while the printed material and two manuscripts were retained at St Giles’s House. Though the division may be regretted, there were good reasons for it, and it is fortunate that the early state of the Collection and its subsequent history can be described with reasonable accuracy. It is the purpose of this chapter to put on record the events of that history, especially those in which I had the privilege of playing a part, and to offer an overview of the contents of the Collection. I was pleased to have the company of Winton Dean at St Giles’s House on the day when the most important items in the Collection were first uncovered, and I am grateful to him for help over a number of matters, notably the identification of copyists. Both of us would wish to thank the present Earl of Shaftesbury for his kindness in allowing access to the Collection and other material at St Giles’s House on a number of occasions, and for assistance in other ways. The help and hospitality given by his staff in the estate office has also been much appreciated.
The Barrett Lennard Collection
Authors: Burrows Donald
Published: November 2023

THE great collections of manuscript copies of Handel’s music formed in the eighteenth century by such people as Elizabeth Legh, Charles Jennens, and Bernard Granville are dual testimony to the originators’ devotion to Handel’s music and to their desire for a distinctive personal library: these enthusiasts wished to own a collected edition of Handel’s works in an age when such an enterprise could not have been expected of London’s music publishers. Sometimes the identity of the original collector is disguised by the fact that the collection is now known by the name of a later owner, who may have added new materials to the received collection: thus, for example, ‘the Newman Flower Collection’ and ‘the Aylesford Collection’ describe entities that are not the same as the foundation corpus of material collected by Jennens. The problem of a collection’s identity occurs in a particularly acute form in the case of the Lennard Collection. On one hand, the sixty-seven manuscript volumes now in the Fitzwilliam Museum, Cambridge, (MU.MS. 789—855; see App. 2) that have been conveniently described as ‘The Lennard Collection’ or ‘The Barrett-Lennard Collection’ in modern Handelian literature bear the name of a fairly recent owner, while the identity of the original collector remains unknown: on the other hand, these volumes formed only a part of the (now dispersed) library of Henry Barrett Lennard.1 Since the manuscripts now in Cambridge are certainly the most significant part of Lennard’s Collection, they will be the prime concern of this article, but attention will also be given to other manuscripts from Lennard’s Handelian library.
Francesco Genminiani (1687–1762)
Authors: Careri Enrico
Published: November 2023

ALTHOUGH Francesco Geminiani is a relatively well-known composer whose name is frequently cited in studies of baroque music, his biography and works have been relatively little researched. His music was often analysed without due reference to the biographical and historical background, and his multifarious activities as violinist, composer, theorist, and small-scale entrepreneur were never considered in their full interrelationship. The present study represents a first attempt at providing a comprehensive account of a composer who in the first half of the eighteenth century dominated the English musical scene alongside Handel. The first volume traces Geminiani's life and career from his birth in Lucca in December 1687 to his activities in three centres: London, Paris, and Dublin. After analysing the critical reception to Geminiani, both contemporary and modern, Dr Careri examines his compositions by genre, illustrating his remarks with some 39 music examples, some presented in facsimile. The second volume is a complete thematic catalogue with music incipits, containing details of primary sources, reworkings and transcriptions, and modern editions.
Lucca, Rome, Naples 1687–1714
Authors: Careri Enrico
Published: November 2023

THE few known facts about the life of Francesco Geminiani are generally taken from the writings of Hawkins and Burney, which, although they hold a particular interest as sources since both historians knew the composer personally, do not always prove reliable. The sole attempt in modem times to shed further light on Geminiani’s biography was made by Adolfo Betti in 1934. However, Betti’s researches were limited to the archives of Lucca, the composer’s native city, and resulted in little more than the discovery, important though that was, of Geminiani’s date of baptism. It seems that after Betti no researcher felt the urge to take the investigation further, perhaps because of the objective difficulty in keeping track of Geminiani’s movements between London, Paris, and Dublin, the three cities where he spent most of his life. The lack of any established tradition of Geminiani studies (despite the fact that this composer was considered by many of his contemporaries the equal of Handel and Corelli) weighs heavily on the present state of research and accounts for the persistence, even after the present investigations, of many lacunae in his biography.
The First London Period 1714–1732
Authors: Careri Enrico
Published: November 2023

‘THE year 1714 [Burney recounts] was rendered an important period to the progress of the violin in this country, by the arrival of Geminiani and Veracini; as the abilities of these masters confirmed the sovereignty of that instrument over all others, in our theatres and concerts.’ According to Hawkins, Geminiani came to London in the company of another Lucchese musician, Francesco Barsanti (1690–1772), who was also to spend most of his remaining life in Britain. The choice of England was particularly happy: even allowing that Italian music as a whole was well known and appreciated throughout Europe, in England there was a particularly vigorous and enthusiastic cultivation of the music of Arcangelo Corelli, which conferred a great advantage on any violinist who could claim to belong to his school.3 But England offered other advantages besides. First, violin technique was much less well developed than in Italy, so that it was all the. easier for a pupil of Corelli to make a name as a virtuoso.
Handel and his Singers
Authors: Larue C Steven
Published: November 2023

From the early 18th century until the present day, opera seria as practised by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic vocal displays. Close examination of Handel’s autograph manuscripts, the librettos upon which they were based, and other contemporary documents reveal the extent to which Handel was influenced by his singers and their abilities in creating his commercially successful and dramatically effective operas. Drawing on ideas and evidence from these sources, this study demonstrates the fact that Handel’s singers were the single most important influence in his opera composition during his tenure as composer and music director of the Royal Academy of Music from 1719–28.
A General Description of the Sources
Authors: Larue C Steven
Published: November 2023

The primary Handel sources required for this study have been broken down into three main categories: (1) the composer’s autograph manuscripts, which include complete works, fragments, and sketches; (2) manuscript copies, which include conducting scores and other eighteenth century copies; (3) printed sources, which include the printed librettos that served as models for Handel’s opera librettos, the printed librettos sold at the first performances of Handel’s operas, and the first editions of Handel’s published scores.
Francesco Borosini and the Two First Versions of Tamerlano (1724)
Authors: Larue C Steven
Published: November 2023

Perhaps no opera in Handel’s œuvre demonstrates the influence of the cast on the composer’s creative process more clearly than Tamerlano; due to the unique circumstances surrounding the creation of the work, many features of Handel’s opera composition can be traced in his autograph manuscript of the score and its related documents. Of particular interest, however, is the extent to which the autograph illustrates Handel’s musico dramatic thinking in relation to the singers and sources made available to him, and the role of each in his creative process.
A
Authors: Clinkscale Martha Novak
Published: November 2023

ADLAM, John. London maker at 40 King Street, Soho, in 1793. (Harding/PIANO, 385)

ADRIEN, André (b Brussels, 21 Dec. 1783-d Brussels, 19 Apr. 1824). Maker of pianos in Brus sels. Born in Brussels, Adrien may have served an apprenticeship in Germany. He began to build pianos in 1816 and established his own Brussels shop in 1821. (Raspe/AD, 19)
E
Authors: Clinkscale Martha Novak
Published: November 2023

E., S., initials of Sebastien Erard. Used as a signature on certain of his pianos.

EBERHARD, Philippe (fl. 1785-99). Maker of pianos and probably harpsichords in Paris. His address from 1785 to 1790 was 3 rue des Deux Portes-Saint-Sauveur; in 1799 he was at 321 rue du Jour. (Place/PARIS, 181)
Apostolic Successions
Authors: Moore Jerrold Northrop
Published: November 2023

Edward now had a national reputation. Each success raised higher the standard by which any new work would be judged. Yet the Symphony remained nebulous, while all his big works developed out of programmes and stories and incidents. At the age of 44, with half of creative life behind him and the world knocking at his door, achievement still depended on finding some outside impulse to give large form to his music.
Death on the Hills
Authors: Moore Jerrold Northrop
Published: November 2023

In the decade since the beginning of the new century, success itself had seemed to divide Edward from his self-doubt. Now the lack of response at the Second Symphony premiere raised all his old insecurity in an instant. And side by side with personal fear there began to grow a new fear of the future: that he and his music would find less and less understanding in the evolving world.
Veni, Vidi, Vici(1889-1893)
Authors: Clark Walter Aaron
Published: November 2023

Albeniz appeared in a concert on 7 March 1889 at the Teatro de la Comedia in Madrid with the orchestra of the Sociedad de Conciertos conducted by Tomas Breton. The programme included his Suite caracteristica for orchestra, made up of arrangements of three piano works: the Scherzo from his Sonata No. 1, ‘En la Alhambra’ (‘inspired by Arab legends’), and ‘Rapsodia cubana’ (‘an exact transcription of the rhythm and melodic design of Cuban songs’).1 Albeniz also performed his Piano Concerto No. 1, or Concierto fantastico. Despite its title, the work is conservative and straight forward in nature. The lengthy Allegro first movement is in sonata form with a principal theme in A minor and a secondary theme in E major. Much of the melodic inspiration, in addition to the tonality, seems indebted to Schu mann. The second movement supposedly expresses ‘the vagueness of a dream’ (‘la vaguedad de un ensueiio’), and it is probably this ‘fantasy‘ element that inspired the concerto’s title. It is divided into two sections: the Andante‘s principal theme is clearly derived from the opening theme of the Allegro, while the second section, marked ‘presto’, is a scherzo in the style of Mendelssohn. The final movement, Allegro, is dominated by the piano and is once again based on themes related to those of the first move ment. Albeniz‘s Escenas sinfonicas catalanas (‘Symphonic Catalan scenes’) also appeared on the programme. This work depicts a country fiesta in the mountains of Catalonia and consists of four sections. The first is in sonata form and includes a third theme of a popular character that recurs as a leitmotif in the third and fourth sections of the work. The ‘Idilio’ (‘Idyll’) paints a picture of two lovers. The ‘Serenata‘ features a quartet of strings with violin solo. The final movement presents two separate themes of a popular character, and the work concludes with reminiscences of the leitmotif and the
A Man of Some Importance(1896-1897)
Authors: Clark Walter Aaron
Published: November 2023

Juan Valera Y Alcala Galiano (1824-1905) was one of the best writers Spain produced in the nineteenth century. Born to a prosperous family in Cordoba, he studied Latin, law, and philosophy as a youth and was fluent in several languages. In 1847 he was appointed ambassador to Naples, where in his spare time he studied classical and modern Greek. Later diplomatic assignments took him to Lisbon, Rio de Janeiro, Dresden, Paris, Berlin, St Petersburg, and Washington, DC. Valera was, like Albeniz, a man of cosmo politan tastes and refinement. He was also a member of the liberal faction in Spain, and much of his writing was political in nature. All of this has a direct bearing on his first novel and most famous literary achievement, Pepita Jimenez (published 1874).1
Lamenti recitativi da camera
Authors: Porter William V
Published: November 2023

‘Lascla Teml morire’: ‘Let me die … Tum back, my Theseus … But with gentle breezes, you happily depart while I weep here … Where, where is the faith that you so much promised to me?0 storms, o tempests, o winds, drown him beneath your aves! … Ah, what am I saying? Am I delirious? … It was my distress speaking, and my pain; yes, my tongue did speak, but not my heart … 0 mother, o father, o splendid palaces of the ancient realm … look where pitiless fate has led me! Such is the destiny of one who loves too much and trusts too deeply.’ Thus cries the abandoned Ariadne in the words of Monteverdi’s poet Ottavio Rinuccini, as her distraught mind races across a wide spectrum of conflicting thoughts and emotions-inconsolable despair, piteous calls for Theseus’ return, Theseus’ joy as opposed to her own weeping, recollections of broken promises, angry calls for his destruction, reconsideration as she acknowledges her abiding love for him, calls for the sympathy of her parents, and finally, realization of the consequences of excessive love and trust. Monteverdi produced three settings of Ariadne’s lament in recitative style for accompanied solo voice: first as a climactic scene to his opera Arianna (premiered in 1608; music lost), where the vocal solo is punctuated by choral commentary; then as an independent piece for chamber performance (published in 1623); and finally as a spiritual work with Ariadne’s words reworked and reassigned to the Virgin (published in 1640).
Aspects of Aria
Authors: Sternfeld F W
Published: November 2023

The present discussion expands some passing remarks on ‘aria’ and ‘number’ in my monograph on The Birth of Opera (Oxford: Clarendon Press, 1993), notably in chapters 2, 6, and 7, where various recent interpretations of Monteverdi’s letter to Alessandro Striggio of 9 December 1616 concerning ‘parlar cantando’ are discussed in greater detail. See also Nino Pirrotta and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi, trans. Karen Eales (Cambridge University Press, 1982), ch. 6 (‘Early Opera and Aria’). For a more literary discussion of the principle of repetition from Homer to T. S. Eliot, see my ‘Repetition and Echo in Renaissance Poetry and Music’, in John Carey (ed.), English Renaissance Studies Presented to Dame Helen Gardner (Oxford: Clarendon Press, 1980), 33-43.
‘Aria’ in the Madrigals of Giovanni Rovetta
Authors: Whenham John
Published: November 2023

The concertato madrigals of Giovanni Rovetta, who was Monteverdi’s assistant at St Mark’s, Venice, from 1627, and his successor there in 1644, have not yet achieved a modem edition; nor have they been studied in the round. Specific aspects have been noted, mainly in theses,1 and Jerome Roche offered some judicious comments on Rovetta as composer in his article in the New Grove Dictionary ef Music and Musicians, including praise of the madrigal ‘A che bramar, a che aventar i dardi’ (1640).
Vivaldi and the Pasticcio: Text and Music in Tamerlano
Authors: Cross Eric
Published: November 2023

In his seminal essay ‘Towards an Understanding of the Opera seria’,1 Reinhard Strohm questions the validity of the concept of the individual ‘work’ when dealing with Italian operatic practice of the early eighteenth century. Instead, he advocates viewing operas of this period as ‘productions’, dominated less by the wishes of the composer than by the influence of the individual singers employed for that particular season. This undoubtedly reflects the relationship between singers and composers described in many contemporary sources, as well as their status in terms of financial reward.
Birth, Education, and Early Performances, 1775–1797
Authors: Radomski James
Published: November 2023

The operatic world in 1775, the year in which Manuel García was born, was still ruled by the spirit of the Enlightenment with ‘Nature’ and ‘Reason’ seen as the guiding forces in science, art, and literature, as well as in music. Gluck was at his height; his Orphée et Euridice and Iphigenie en Aulide had just premiéred at Paris in 1774. Mozart’s Entfuhrung would come seven years later, and Don Giovanni five years after that. The works of Mozart, revolutionary at the time, would be the inspiration of García’s youth.

Indeed, García was born on the eve of revolution: the American was imminent and the French soon to come. Rousseau’s Contrat social (1762) was coming to fruition. García, with one foot in the eighteenth century and another in the nineteenth century, would see tremendous social change in his lifetime, from which he did not remain aloof. His own profession, officially considered ‘despicable’ in Spain, would not have that stigma removed until revolution had rocked the country (1808), an experiment with democracy had been attempted and failed (1812), and the king, Fernando VII, finally granted the favour of officially declaring the actor’s life to be respectable (1819).
London-Paris-London,1823–1825
Authors: Radomski James
Published: November 2023

In May 1823, García was already in London, where he appeared at the King’s Theatre, under the management of John Ebers, who later published his recollections of the season.

At this period, an engagement was concluded with Signor García, a tenor of great power, taste, and an excellent musician. He had been made known to an English audience in the year 1818, when he had an engagement under Waters’s manage ment, and left behind him an impression which made his return welcome to all who remembered his former visit. His voice was now a little reduced, but not so as to prevent his being a most effective singer.
Returm to Paris, Last Operatic Performances, 1829
Authors: Radomski James
Published: November 2023

Five years had elapsed since García’s departure from Paris, the city to which he had become most attached, the city that gave him his first great success and that launched him on an international career. Paris was, finally, the one city that seemed not only to enjoy, but to respect his art, and it must have been a great relief for García to return there safely. The intervening years had not been easy ones. In spite of triumphs, he had lost a daughter (Maria Malibran had taken off on her own1), a son (Manuel likewise returned to Paris to try a career of his own), and all of his earnings in the attack in Mexico. Furthermore, he was now 54 years old, well past his prime. His voice was no longer what it had been in the glorious years between 1816 and 1824.

Nevertheless, García had not been forgotten and, indeed, his absence allowed his previous performances to enter into the realm of legend which probably would not have occurred if the Parisian public had been witness to the gradual decline of his powers. García’s performances of Don Giovanni and Otello had become the standard. Throughout the years of his absence frequent brief references to his singing were made.
An Italian Apprenticeship (1734–1745)
Authors: Howard Patricia
Published: November 2023

From the record of his matriculation at Prague University in 1731 until his arrival in Milan in 1737, Gluck’s activities are undocumented. He is presumed to have remained in Prague for three years, moving to Vienna towards the end of 1734.
Iphigénie en Aulide (1772–1774)
Authors: Howard Patricia
Published: November 2023

The honour which is due to you, monsieur, on account of your very distinguished abilities, and your reputation for integrity, with which I am familiar, have persuaded me to undertake to write to you to inform you that the celebrated M. Glouch, famous throughout Europe, has composed a French opera which he would like to have performed on the Parisian stage. After having written more than forty Italian operas, which have enjoyed the greatest success in all the theatres where that language is in usage, this great man has become convinced, by a close reading of authors ancient and modern, and by profound reflection on his art, that in their theatrical compositions, the Italians have strayed from the true path, that the French genre is the true genre of music drama, and that if it has not yet been perfected, it is not the acknowledged talents of French musicians which are to blame, but rather the authors of the poems, who, ignorant of the scope of musical style, have in their librettos preferred wit to feeling, gallantry to the passions, and restraint and the refinements of versification to pathos in style and situation.
Summer in Paris (1774)
Authors: Howard Patricia
Published: November 2023

Meanwhile Gluck dined out, clearly in his element while giving previews of his opera and defending his dramatic theories. Numerous diaries record private gatherings, where ‘after a good dinner and interesting conversation, some delightful music would be studied’.2
Problems With Publishers (1775)
Authors: Howard Patricia
Published: November 2023

Kruthoffer lost little time in finding a publisher to replace Le Marchand. In a document drawn up on 28 March 1775, he signed an agreement with his compatriot Anton de Peters:
A Testimonial Year (1781)
Authors: Howard Patricia
Published: November 2023

Your letters, my dear friend, are so delicious and entertaining as to make us forget Linguet and his Annales.2 All those I allow to read them are consumed with the desire to make your acquaintance. You are becoming more famous here through your letters than I with my operas in Paris. Mme Gluck thoroughly enjoys them; she sends you all good wishes, and asks if you can give her any information about a certain Doctor of Medicine from these parts, called Mesmer, whether he is in Paris, and what credit he has gained for his magnetic cures.3
Symphony No. 21 (1764)
Authors: Haimo Ethan
Published: November 2023

Everything—as the saying goes—is relative. If so, then Symphony No. I is a typical work, for many of Haydn’s symphonies from the late 1750s and early 1760s have similar overall plans and similar treatments of the forms of the individual movements. By the same standards, Symphony No. 21 is an extremely unusual symphony. As such, it is a particularly useful subject for analysis, offering us a valuable opportunity to test our understanding of Haydn’s formal procedures against a number of problematic movements.
Symphony No. 81 (–8 November 1784)
Authors: Haimo Ethan
Published: November 2023

In many of Haydn’s later works, significant aspects of the formal organization (both intra movemental and inter movemental) can be traced back to a single event that occurs at the very beginning of the composition. Nowhere is that more easily demonstrable than in Symphony No. 81. Essential features of the structure of all four movements derive from the opening measures of the symphony (see Ex. 7.1).
Symphony No. 96 (1791)
Authors: Haimo Ethan
Published: November 2023

In the course of Haydn’s two trips to England (1791–2 and 1794–5), and in preparation for them, he wrote (among many other works) twelve symphonies. Carefully tailored to appeal to the London audience, Haydn’s last symphonies are, at the same time, among the most profound products of his art, forging an inimitable synthesis between the avowedly popular and the unabashedly recondite.1
GENESIS
Authors: Thomas Adrian
Published: November 2023

G6RECKI’s personal circumstances had changed markedly since 1955, not least after his marriage to Jadwiga Ruranska in Katowice in the summer of 1959. On their honeymoon in July they visited Zakopane for the second time, and on this and subsequent walking holidays they continued to explore the foothill country to the north of the Tatra range-the regions of Podhale, Kotlina Nowotarska, and Goree (Fig. 3). In 1959 they discovered the villages of Witow and Chochotow, where they were to spend many summer months from 1966 until the late 198os.1 Their home in Katowice was now a small flat north of the city centre in a block occupied by a number of musicians, although Gorecki frequently returned to Ryduttowy (and occasionally to a summer-house in Szabelski’s garden) to gain some peace and quiet for composition.
The Quest for Melodic Diversity
Authors: Hurley David Ross
Published: November 2023

In the process of revising his scores Handel faced certain problems time and again. Examining such recurring revisions enables us to identify stylistic issues that regularly concerned the composer. In this chapter I identify two kinds of revisions in Handel’s composing scores that are ultimately interrelated: (r) revisions that curtail excessive thematic repetition; and (2) revisions that manipulate the order of melodic events. Both types of corrections underlie Handel’s interest in achieving thematic diversity.
Texture as Form
Authors: Hurley David Ross
Published: November 2023

During the eighteenth century Handel was singled out for his expertise in fugal writing. Mattheson, for one, included in his famous reminiscences the following evaluations of Handel: ‘When a certain world-famous man came here to Hamburg for the first time, he knew how to compose nothing but regular fugues .’. ‘He was strong on the organ: stronger than Kuhnau in fugue and counterpoint, especially ex tempore.’ Later in the century Charles Burney, in the Account of the Commemoration life Handel, eulogized Handel’s ‘full, masterly and excellent organ-fugues’ in which he ‘surpassed Frescobaldi, and even Sebastian Bach, and others of his countrymen, the most renowned for abilities in this difficult and elaborate species of composition’. Although few would agree with Burney’s assessment today, we need not rely solely on Handel’s contemporaries for high assessments of his contrapuntal ability. Recently Alfred Mann has shown how Handel’s profound understanding of fugal techniques is manifested in his composition lessons for Princess Anne.
The Rough Places Made Plain: Closure vs. Continuity
Authors: Hurley David Ross
Published: November 2023

On the most basic level, the following discussion is devoted to cadences. Where a cadence is placed, whether it is strong or weak, whether it is emphasized or suppressed, has important ramifications for inner form. Our first task in this chapter is to address the issue of rebarring, a common kind of revision encountered in Handel’s oratorios. Such revisions are rarely a simple matter of notation: rebarrings raise significant questions touching not only upon cadence placement, but also upon aspects of meter and thematic construction. In fact, Handel’s rebarrings ultimately will lead us to a profound compositional concern of the composer: the need to produce a continuous musical surface.
The Magnificat Group of Antoine Busnoys: Aspects of Style and Attribution
Authors: Natvig Mary
Published: November 2023

He singing of the canticle of the Blessed Virgin Mary, the Magnificat (see the Appendix for text and translation), constituted the high point of the Vespers liturgy in medieval and Renaissance monasteries and collegiate churches.
Conflicting Attributions and Anonymous Chansons in the ‘Busnoys’ Sources of the Fifteenth Century
Authors: Perkins Leeman L
Published: November 2023

In attempting to bring at long last to fruition a complete edition of the chansons of Antoine Busnoys - a project begun decades ago by the late Catherine V. Brooks-it has been necessary to face anew the fundamental problems posed by such a task. Among the most vexing of these, perhaps, continues to be the establishment of a relatively reliable definition of the total repertory to have survived.
False Concords in Busnoys
Authors: Urquhart Peter
Published: November 2023

The modern editorial practice of adding accidentals to fifteenth- and sixteenth-century music has been shaped in part by centuries of counterpoint instruction according to rules based on the pedagogy of J. J. Fux and the music of Palestrina. Editors commonly apply the harmonic rules of counterpoint quite strictly, and tl1en proceed to correct all the perceived problems by means of editorial accidentals in tl1e name of’ musicaficta’, or more properly, performer’s accidentals. However, a number of recent empirical studies of tl1e music have suggested that these supposed contrapuntal flaws may well be characteristic stylistic features. Thus, an editorial method designed to correct these features tends to mask an essential aspect of the music.
Conflict and Renown
Authors: Kendrick Robert L
Published: November 2023

The 1630–1 plague shattered the harmony and optimism of Federigo’s years, despite the ritual invocations of the memories of Carlo’s battles against the 1576 epidemic; due to clausura (ironically), it had less effect on nuns. In its wake, female monastic ensembles must have figured, if they had not already, among the largest and best-organized cappelle of Milan.
Ad usum Sanctimonialium
Authors: Kendrick Robert L
Published: November 2023

All the evidence raises one central question, a prolegomenon to any analysis of the repertory: given both the episcopal efforts to isolate these women from the musical life of their class origins, and the practical problems attendant upon the availability of solely female voices, how did monastic musicians transmit and perform polyphony? The first problem was education. The I 565 Lino-Borromeo correspondence had already addressed this issue, and the problem seemed insoluble for both sides: prelates who could not politically afford to ban music but who wanted to regulate female houses, and nuns concerned to have training.
A Nun’s Music among the Genres of Mid-century Lombardy
Authors: Kendrick Robert L
Published: November 2023

The works composed by Chiara Margarita Cozzolani and Rosa Giacinta Badalla represent difforcnt moments in S. Radegonda’s repertory. Because they spent their adult lives inside the house’s porous clausura, their music provides testimony to their reception of genres in Lombardy. Cozzolani’s production includes some of S. Radegonda’s repertory at mid-century, and her output represents one of the larger surviving body of works composed by a woman before 1800.
Anglican Chant and Chanting in England, Scotland, and America 1660 to 1820
Authors: Wilson Ruth M
Published: November 2023

This book presents, for the first time, a history of English liturgical chant as performed in the Church of England and its transmission to churches in Scotland and the United States. In the mid-sixteenth century Reformation, the complex ritual of the Latin rite was replaced by a one-volume Book of Common Prayer in English. The general nature of the new rubrics, expecially for music, left many of the details of performance to be worked out in traditional ways. Thus the music evolved from its Latin roots in oral, and later written practice. The body of music that makes up the chanting practice of Anglican and related churches around the world is indeed diversified. Some texts of the liturgy are harmonized in four or more voice parts, often with organ accompaniment, and others are sung in plainsong. The largest group of chants, those for the psalms and canticles, has an idiosyncratic written form and a performance practice that continues to evolve in oral tradition. This music is commonly known as Anglican chant. Its origins in the seventeenth century and its codification in the eighteenth are explored in the choral establishments of the Church of England and parish churches in England, Scotland, and the United States.
Questions of Interaction and Dissemination
Authors: Komlós Katalin
Published: November 2023

Musical culture and tradition evolved in widely different ways in the Habsburg Empire, in Germany, and in France and England durin! the eighteenth century. In the second half of that century, Italian influence was strongest in Vienna and London; Paris fought its battles for and against this influence; north Germany remained largely autonomous and isolated. Indeed it is ironic that Vienna, which seemed somewhat provincial and conservative at the time, produced the fundamental values of the ‘classical style’,1 and, from a historical perspective, all other European trends and schools proved to be peripheral.
Chamber
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

Title A ‘znělka’ (plural ‘znelky’) is a Czech term for a sonnet. Straková (1959, 171-3) suggests several reasons why Janacek might have chosen this otherwise rare term for a short piece of music, mentioning the disciplined rhyme scheme and the fact that in Czech, quatrains are known as ‘quartets’ (perhaps reflected here in the scoring). The first Czech znělky were written by Josef Jungmann in the late eighteenth century. Straková speculates that at school Janacek would have studied the znělky by Jan Kollar (1793-1852) and would certainly have known Susil’s sonnets, which came out in a collected edition in 1869.
Jenkins and the Cosmography of Harmony
Authors: Field Christopher D S
Published: November 2023

If a flat Map be but pasted upon a Globe, the farthest East, and the farthest West meet, and are all one. John Donne, letter to Sir Robert Ker (1623)Like other years 1592 had its ups and downs. On Bankside a new play, Rarey the vi, in which the up-and-corning Shakespeare is thought .to have had a major hand, was enjoying a good run till bubonic plague closed the London theatres in June. Before the year was out the epidemic had spread into Kent, and in Jenkins’s birthplace, Maidstone, the authorities had to try to combat ‘diverse infectious and dangerous savours and noisome airs’ around the town. English troops, sent to aid the Huguenot king Henri IV against the forces of the Catholic league, were constantly corning and going through Kentish ports during the year, while for the music-loving Sir Henry Unton (whose famous memorial picture of four years later (Plate 1) shows him playing the bass in a domestic consort of five viols) recall from his embassy to France meant relief from a particularly trying diplomatic posting. In September Queen Elizabeth was received at Ditchley in Oxfordshire by her retired champion Sir Henry Lee with a gallant. entertainment in which music contributed to the atmosphere of flattering enchantment, before going on to the University of Oxford to be regaled with Latin disputations and Christ Church choir singing the Te Deum. Thomas Morley was sworn in as a Gentleman of the Chapel Royal, and in October the orphaned Alfonso Ferrabosco the younger was taken on to the books of the English court at a yearly pension of £26. 13s. 4d.
Convention and Transformation in Ferrabosco’s Four-Part Fantasias
Authors: Bellingham Bruce
Published: November 2023

With the appearance of a complete edition in score and parts of the fourpart fantasias composed by Alfonso Ferrabosco the younger, and, in the same year, a thorough study of John Jenkins’s consort music,1 some observations concerning the fantasias of Ferrabosco and the emerging English instrumental style in the early seventeenth century are timely.
Mico and Jenkins:’Musitians of Fame under King Charles I’1
Authors: Hanley Andrew
Published: November 2023

The lives of Richard Mica and John Jenkins were in many respects so similar that it is somewhat surprising that there is no evidence of their ever having been acquainted. Mica was probably born in 1591 and Jenkins in 1592, both lived through ‘that blody difference between the King and Parliament’, and through the Restoration of the monarchy. Mica died soon after, in 1661, while Jenkins survived until 1678. Both came from comfortable, but essentially working-class environments: Mica’s family were cloth merchants based in Taunton, and Jenkins’s father was a carpenter in Maidstone. But, while Jenkins’s family was demonstrably musical, possessing ‘Seven Vialls and Violyns, One Bandora and a Cytheme’, there is no record to show that Mica’s was musically active. Yet, by the age of eighteen, Mica was proficient enough in the art to have been appointed resident musician at Thomdon Hall, near Brentwood, Essex, home of the noble Catholic Petre family, whose enthusiasm for music was of long standing.
Hamburg’s Pygmalion
Authors: Kennedy Michael
Published: November 2023

Hamburg has a long and honourable musical tradition. When Mahler arrived there the city’s symphony concerts were in the charge of another great conductor, Hans von Billow. Within the first few days of his regime Mahler conducted Siegfried. Billow attended the performance and wrote to his daughter Daniela on 24th April 1891: ‘Hamburg has now acquired a simply first-rate opera conductor in Mr Gustav Mahler … who in my opinion equals the very best conductors (Mottl, Richter etc.) … Recently I heard Siegfried under his direction … Without an orchestral rehearsal, he compelled the musical rabble to dance to his tune.’ Mahler quickly began to infuse into Hamburg the same zeal for artistic perfection which had marked his stay in Budapest. But now he had the advantage of an excellent orchestra and of gifted singers already under contract to the shrewd Pollini, among them the soprano Katharina Klafsky, a great Leonora in Fidelio, whose husband, Otto Lohse, was second conductor; the tenors Max Alvary and Julius Lieban, and the Czech contralto Ernestine Schumann-Heink.
Vienna
Authors: Kennedy Michael
Published: November 2023

When Mahler left Vienna in 1907 he described his decade at the Opera as ‘ten war-years’. Arnold Schoenberg, in a letter to him in 1910, referred to ‘our hated and beloved Vienna’. From his days at the Conservatory Mahler knew only too well how Vienna treated its great men, canonizing them when they were dead, often reviling them during their lifetime. The city repelled him yet fatally attracted him. It was, after all, the city of Haydn, Mozart, Beethoven, Schubert and Bruckner, the city of the Strauss waltz, of the coffee-houses, of the Prater and the Opernring. The city of light-hearted, easy-going, gracious living, of intrigue, callousness and spite where revolutionary ideas in art struggled for expression in a climate of conservative, sometimes reactionary, opinion. The years from 1897 to 1914 were Vienna’s ‘Edwardian’ age, an almost exact parallel to the London of the same period. With hindsight, it seems that the life of Europe then was illuminated by a garish light shed by the sun as it gradually became obscured by the storm clouds. In Vienna the opera had a golden age under Mahler; the operettas of Lehar and Oscar Straus were on everyone’s lips; science and medicine thrived; writers and painters abounded. But the Emperor was growing old; the political scene was seething; anti-Semitism grew fiercer and more open.