bluuebunny/crossref_metadata_2025 huggingface dataset:
Popular Justice
Authors: Lintott Andrew
Published: November 2023

The tradition of popular justice in Italy was an important substratum of political violence. It is of course nothing peculiar to ancient Rome, but has dose parallels in other states, ancient, medieval, and modem. Civilization and political development will suppress it or divert it into legal channels. However, it deserves to be stressed in the history of Rome because, under free institutions at least, its suppression and redirection were far from complete. A further reason for emphasis is that Sallust and subsequent historians have tended to idealize the moral virtues of early Rome. Although Rome was free from civil war and bloody revolution during the first four centuries of the Republic, and before 133 most disputes ended in concord, this does not imply a utopia of restraint throughout Roman society. There was a greater group solidarity in the dose community of the early Republic, while it was menaced by outside enemies. But group solidarity led not only to patriotism but to faction, as the struggle between the patricians and plebeians shows. The techniques of self-defence employed by a group, whether based on family, tribe, locality, or client-patron relationship, are a doubtful asset to the spreading metropolis of a complex civilization.
The Annulment Of Laws Passed By Violence
Authors: Lintott Andrew
Published: November 2023

Such were the measures that could be invoked against a person using violence. What weapon was available against any legislation that owed its origin to that same violence? Cicero in composing his ideal body of statutes lays down: ‘Vis in populo abesto. Par maiorve potestas plus valeto. Ast quid turbassitur in agendo, fraus actoris esto. Intercessor rei malae salutaris civis esto.’ And in his subsequent discussion ofvisremarks, ‘Nihil est enim exitiosius civitatibus, nihil tam contrarium iuri ac legibus, nihil minus civile et inhumanius quam composita et constituta re publica quicquam agi per vim.’ The sentiments in the two passages are unexceptionable. It is noticeable, however, that he cannot refer to any particular statute providing againstvis in populoeither in the Twelve Tables, his favourite source, or anywhere else.
Baudelaire and the Second Republic
Authors: Burton Richard D E
Published: November 2023

Baudelaire and the Second Republic is the first fully comprehensive study of Baudelaire's actions, reactions, and writings from the Revolution of February 1848 to the Bonapartist coup d'état of December 1851. The picture of Baudelaire that emerges from the biographical, textual and contextual materials discussed, is of a consistent radical republican. He is shown to have been close in his views first to Blanqui and then, after the failure of the insurrection of June 1848, to Proudhon and to the démoc-soc party that constituted the main resistance to Bonapartism during what remained of the Second Republic. Baudelaire was close to the popular political culture of mid-nineteenth-century France and drew upon a reservoir of popular themes and images - notably the image of wine - in expressing his commitment to the cause of radical republicanism. A book which traces in detail the links between literary texts and socio-political contexts, this will appeal both to students of Baudelaire and of mid-1800s French politics and society.
Barthes and Utopia
Authors: Knight Diana
Published: November 2023

Barthes and Utopia explores the central role of utopias throughout the work of Roland Barthes, from demystification to structuralism, from textuality and sexual hedonism to his final preoccupation with love and mourning. Utopia mediates the supposed phases of Barthes career, just as it mediates the two sides of his work which are often misleadingly separated: his political and ethical concerns (his desire to invent social values for the world), and his creative project of writing. In short, to take detours via hypothetical utopias was Barthes's way of writing the world. Diana knight follows him through the everyday spaces of Mythologies, through euphoric visions of the city, through the semiological and sexual utopias of the `orient', to the metaphorical south-west of his childhood and the writerly, maternal spaces of his late work. The range of texts studied in Barthes and Utopia is unusually wide, and incorporates discussion of the plans for his so-called Vita Nova--Barthes's final, mysterious writing project. Barthes and Utopia takes us to the heart of Barthes's imaginative processes, of his affective world and idiosyncratic value system. But, because Utopia is the meeting point of Barthes's lifelong concern with the relationship between history, language, and sexuality, this study also inserts Barthes's work into larger political and theoretical concerns, in particular into ongoing debates around Orientalism and homosexuality.
Ealing Studios
Authors: Harper Sue , Porter Vincent
Published: November 2023

DURING the Second World War, Michael Balcon, the head of Ealing Studios, had been the most vociferous opponent of Rank’s business activities. Like many other liberals in the trade, he viewed Rank’s influence as overweening, with a dangerous tendency to monopoly. When Balcon became a powerful presence on the Palache Committee, Rank bought him off by offering him a deal which seemed too good to refuse; he would cover half Ealing’s production costs, in return for world-wide distribution rights. This was all very well while Rank ran his business in a laissez fairemanner, but once John Davis took the helm, everything changed. Davis wanted to reshape Ealing production so that there would finally be world-wide profits, and he intervened in the day-to-day running of Ealing in an increasingly importunate manner. Small wonder that, writing with hindsight in 1959, Balcon thought that distributors should ideally be ‘ancillary to a major production organ is action’.1In the 1940s, Ealing film production had been at its zenith, both artistically and financially. Balcon had headed Ealing from 1939, and he set in motion the sys tem of unit production which he had initiated at Gaumont-British in the 1930s. His practice was to encourage individuals so long as they concurred with his world-view. Once directors, producers, and scriptwriters were accepted into the coterie of ‘Mr Balcon’s young gentlemen’ (as they were called), they were given relative autonomy during production. During the 1940s, Balcon dominated the selection and nuancing of Ealing’s projects, which all combined realist aesthetics with liberal politics and performed consistently well at the UK box office.
Choirs and Places
Authors: Spink Ian
Published: November 2023

Today’s cathedral choirs are composed of lay clerks (sometimes called lay vicars) and choristers, but this is just the latest stage in a development that leads from the Middle Ages, via the upheavals of the sixteenth and seventeenth centuries, to the reforms of the I 840 Cathedrals Act, which set cathedral chapters and choirs on a new footing.
The Older Generation: Lawes, Cooke, and Locke
Authors: Spink Ian
Published: November 2023

Strictly speaking, the Chapel Royal was not a building, but a body of men and boys whose job was originally to sing the daily service wherever the king happened to be. Whitehall being the usual royal residence, the chapel was there too, but following a fire in January 1698, it moved briefly to St James’s Palace, then back again at the end of the year to Whitehall after the Banqueting House had been converted for use as a chapel. In 1703 Queen Anne decided that the Chapel Royal should return to St James’s, where it has remained ever since.1
Postscript: George Frideric Handel
Authors: Spink Ian
Published: November 2023

Handel visited London for the first time in the late autumn of r7ro and returned to Hanover the following summer, having had great success with his opera Rinaldo in the mean time. Towards the end of 1712 he was in London again, this time prepared to settle and ambitious to produce farther operas. Within a month he had composed an ode for the queen’s birthday (6 February), and on 19 March his ‘Te deum (to be sung when the Peace is proclaim’d) was rehears’d at the Banqueting I-louse at Whitehall, where abundance of Nobility and Gentry were present’.
Ely
Authors: Spink Ian
Published: November 2023

The Henrician foundation of Ely in 1541 stipulated a dean, eight prebendaries eight minor canons, eight lay clerks, and eight choristers, but the 1666 statutes (see App. E) amended the numbers in the choir to five minor canons, eight lay clerks, eight choristers, and an organist and master of the choristers-the latter paid for by savings from the three minor canons’ places.
Oxford
Authors: Spink Ian
Published: November 2023

According to Anthony Wood, choral services had been re-established by November 1660 in those colleges where they had traditionally been sung: ‘they restored the organ at Christ Church, Magdalen, New, and St John’s College, together with the singing of prayers after the most antient way: to which places the resort of people out of novelty, I suppose, than devotion) was infinitely.
Rochester
Authors: Spink Ian
Published: November 2023

While VlSltmg Chatham on naval business in April 1661, Pepys called in at Rochester ‘and there saw the Cathedrall, which is now fitting for use, and the Organ then a-tuning’.1 During the Civil War the cathedral had served as a stable for General Fairfax’s troops and sawpits had been dug in the nave, but the organ, according to Thomas Baskerville, had been preserved in a tavern in Greenwich, and thus spared the depredations of the Roundhead soldiery.
Musical form and the listener
Authors: Cook Nicholas
Published: November 2023

There have been many attempts to define what music is in terms of the specific attributes of musical sounds. The famous nineteenth century critic Eduard Hans lick regarded ‘the measurable tone’ as ‘the primary and essential condition of all music’ (trans. 1957: 105). Musical sounds, he was saying, can be distinguished from those of nature by the fact that they involve the use of fixed pitches, whereas virtually all natural sounds consist of constantly fluctuating frequencies. And a number of twentieth-century writers have assumed, like Hans lick, that fixed pitches are among the defining features of music (Radocy and Boyle 1979: 170—2). Now it is true that in most of the world’s musical cultures, pitches are not only fixed, but organized into a series of discrete steps (Dowling and Harwood 1986: 90—1). However, this is a generalization about music and not a definition of it, for it is easy to put forward counter-examples.
Imagining music
Authors: Cook Nicholas
Published: November 2023

Analogies have frequently been drawn between the structural organization of music and that of language. Indeed, it was at one time assumed that the two were more or less coextensive; baroque music theory was to a large extent an adaptation of the theory of rhetoric and was centred around the expression of textual meaning, so that, as Dahlhaus puts it (1982: 24), ‘Instrumental music, unless provided by a program-note with some intelligible meaning, was regarded not as eloquent but simply as having nothing to say.’ Similarly, in his apology for instrumental music published in 1739, the composer and aesthetician Johann Mattheson resorted to the linguistic analogy in order to justify the claim that music without words could have aesthetic validity: it is possible, he wrote, for the composer ‘to express truly all the heart’s inclinations by means merely of carefully chosen sounds and their skillful combination without words, so that a listener can completely grasp and clearly understand the motive, sense, meaning and force, with all the phrases and sentences pertaining thereto, as if it were a real speech.
Knowing and listening
Authors: Cook Nicholas
Published: November 2023

Imagine, if you can, that Martian musicologists of ten thousand years hence are attempting to reconstruct an authentic performance of Chopin’s E minor Prelude (Ex. 35). We will suppose that a copy of the score and a piano of the period have somehow survived the destruction of human civilization, and that the Martians have also found works of music theory that tell them that the notes of the score correspond to the various keys on the piano, that eighth-notes are all meant to be of a unit duration which is twice that of sixteenth-notes, that a dot prolongs a time value by a half, and so forth. How will this Martian performance sound? The question is unanswerable! But it is possible to imagine a performance being applauded (if Martians applaud) for its meticulous faithfulness to the score, in which the opening note lasted exactly three times as long as the second one, the eighth-notes of the left hand in the first eleven bars were all of precisely the same length, and, in the absence of any indication to the contrary, the dynamic level was exactly the same throughout the first eight bars.
The Music of Hans Pfitzner
Authors: Williamson John
Published: November 2023

For many reasons Hans Pfitzner was and remains controversial. This stems partly from his difficult personality, and partly from the nationalistic context in which are set his cultural beliefs. His music has also tended to be coloured by such labels as conservative and romantic. Yet he actually has a wide reputation for his `musical legend' Palestrina, and there is much in his output which sets him as the true heir of Wagner and Schumann. This is the first study in English of Pfitzner's output. It sets his music in the context of his cultural opinions, which, though conceived as reflections on music, have acquired a more political status to which the history of Pfitzner's times has contributed. It offers a revaluation of his music, partly in order to reveal the innate value of his stage works, chamber music, and songs, and also to illustrate the historical importance of his ideas, which reflect a German conservative tradition which was taken over and nearly destroyed by the Third Reich.
Italian Opera in Late Eighteenth-Century London
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

This interdisciplinary study attempts to make sense of what has long been regarded as a chaotic period in the history of opera in London. In 1778 R. B. Sheridan acquired the King’s Theatre and its resident opera company in what we would now call a leveraged buy-out, plunging the opera into escalating debts that were to haunt it into the 1840s. The 1780s and early 1790s were a stormy but exciting era: the company hired some of the foremost singers and dancers in Europe; ballet d’action came to London, with Noverre himself as ballet master; the company employed such composers as Sacchini, Anfossi, Cherubini and ultimately Haydn; it went bankrupt and carried on through years of wrangling in Canchery; the King’s Theatre burned down in 1789 and was rebuilt and re-opened in defiance of the Lord Chamberlain’s refusal to license the new building. Drawing on librettos and scores, ballet scenarios, pamphlets, scattered manuscripts, legal records, architectural drawings, newspapers and other sources, the authors reconstruct the history of the company its shifting artistic policies, analysing opera and ballet repertoy, performers, production circumstances, finances and managerial infighting.
Scientific Empiricism in Musical Thought
Authors: Palisca Claude V
Published: November 2023

This essay is an expanded version of a lecture presented at Swarthmore College on 28 February 1960 in the series ‘Seventeenth-Century Science and the Arts’, sponsored by the William J. Cooper Foundation. It was published in Hedley Howell Rhys (ed.), Seventeenth Century Science and the Arts (Princeton, NJ: Princeton University Press, 1961), 91–137.
A Clarification of Musica reservata in jean Taisnier’s Astrologiae, 1559
Authors: Palisca Claude V
Published: November 2023

This essay was first published in Acta musicologica, 31 (1959), 133–61, on the quadricentennial of Jean Taisnier’s Astrology, the little book whose dedication contained the text that is commented upon here. But my own involvement with musica reservata goes back to my doctoral dissertation of 1954. There I analysed the known occurrences and purported occurrences of the term and came to the conclusion that it was not capable of precise definition and therefore did not lend itself to scholarly usage. I thought it prudent then to drop it as a label for any aesthetic movement. I communicated my analysis of the sources and conclusions in a paper delivered at the Midwest Chapter of the American Musicological Society at Indiana University, Bloomington, 15 May 1954.2
The Earlier Rubato in Violin Music
Authors: Hudson Richard
Published: November 2023

Early in the Baroque period the solo violin, a relatively new instrument at that time, became the instrumental equivalent of the solo voice. In canzonas, sonatas, and eventually in concertos, the violin imitated the styles and forms of vocal music. We have already noted the practice of improvised embellishment in Corelli’s violin sonatas. Tempo rubato was therefore a part of this practice, in fact if not in name, as it had been in vocal music long before North and Tosi. The expression does not actually appear in violin sources, however, until the early Classic period, slightly after 1750.1
Haydn, Mozart, and Beethoven
Authors: Hudson Richard
Published: November 2023

Neither Haydn, Mozart, nor Beethoven ever wrote the word rubato in a musical score. There is some evidence, however, both in notation and in accounts of performance practice, of the existence in their works of the earlier as well as the later type of tempo rubato. The later type manifests itself in modifications of tempo—partly notated by the composer and partly added by the performer. Mozart described how he employed earlier rubato as a performer (see Chapter 5). This type may perhaps also be indicated occasionally by the notation. Both types of rubato occur in classic music to reinforce formal structure. Both tend in the late works of Beethoven and in romantic music generally to appear more and more for expressive purposes.
Introduction
Authors: Ehrlich Cyril
Published: November 2023

The early history of the piano is familiar, or easily accessible. Scrupulously documented with a mass of technical detail by Rosamund Harding, it has been summarized in many reference books, and more recently explored in a growing literature which reflects a new cult of old keyboard instruments. But the richness of this material, its concentration upon the period before 1850, and the antiquarianism of its more recent practitioners, threaten to distort our view of the piano’s development. Especially is this so if we consider its place in the broad stream of cultural, economic and social history. For the piano was not merely a prince of instruments, ‘a mirror reproducing whatever is most characteristic of the general state of music’. In its golden age it became the centre of domestic entertainment, of musical education and, not least, a coveted possession, symbolic of social emulation and achievement, within reach of an ever-widening circle of eager purchasers.
The Victorian Piano
Authors: Ehrlich Cyril
Published: November 2023

Visitors to the Great Exhibition of 1851 were probably impressed by the range of pianos on display. Table I lists the numbers and nationalities of the exhibitors. Among them were a few old English firms, including Broadwood and Kirkman, and many newcomers. The great French tradition was represented primarily by Erard, with instruments from both its Paris and London factories. There was also an entry by Henry Pape, whose mechanical ingenuity and profound influence upon a generation of craftsmen were never matched by success in business.
The Emergence of Germany
Authors: Ehrlich Cyril
Published: November 2023

The rise of the German piano was sudden and swift. In 1860 the industry was small and undistinguished; few makers were known or respected outside Germany. Even local needs would sometimes remain unsatisfied, for in addition to production deficiencies, marketing procedures and stock control were rudimentary and unable to cope with seasonal fluctuations. In 1873 Amy Fay complained: ‘There isn’t a piano to be had in Weimar for love or money, as there is no manufactory, and the few there were to be disposed of were snatched up before I got here. I ... was obliged to go first to Erfurt and finally to Leipzig before I could find one—and even that was sent over as a favour after much coaxing and persuasion.’ A few years later she would have had no difficulty.
The British Market, 1880-1914
Authors: Ehrlich Cyril
Published: November 2023

Germany’s capture of the British market was similar in many respects to her success in Australia, but its implications were far more serious in a country which itself manufactured pianos. By the eve of the First World War, approximately one out of every six pianos bought in England was German. The proportion may appear too low to justify speaking of’ capture’, but in terms of expenditure it was much higher because practically all the German imports were of good quality while many of the English pianos were very cheap. Moreover, the implications of such competition were more far-reaching than any figures can convey. Under its stimulus the whole concept of making and selling pianos was transformed. Old clogged channels of distribution were rejected and new outlets created: ‘They came through general merchants and commission agents, not the legitimate trade’ was a common complaint in England, as in Australia.
The Gig
Authors: Cohen Sara
Published: November 2023

While the last chapter was concerned with the structure and organization of batids; this chapter focuses upon bands in performance and discusses their involvement with an audience. Crikey it’s the Cromptons! were to perform a gig with Fairground, another band from Vulcan. At about 6.30 p.m. the band members congregated in the office at Vulcan Studios. Tony arrived carrying a large bottle of cider and a camera which he gave me so I could photograph him during his performance. He wore a large black suit, striped shirt, and brightly coloured tie of which he seemed particularly proud. ‘I collect hideous ties’, he told me.
Style and Meaning in the Music
Authors: Cohen Sara
Published: November 2023

This chapter considers the music-making of the Jactars and Crikey it’s the Cromptons ! within the wider context of rock music and music in general, thus highlighting its cultural, social, and historical specificity. The aesthetics and ideology involved in the production of the Jactars’ and Crikey it’s the Cromptons !’ music had been particularly influenced by British and American punk styles of the 1970s. The ‘do-it-yourself’ message of punk, which has been well documented elsewhere (see Frith, 1983, and Laing, 1985, for example), encouraged many people, including members of the Jactars and Crikey it’s the Cromptons!, to form bands.
Scoring and Structure
Authors: Webber Geoffrey
Published: November 2023

This chapter is concerned with what might be described as the external characteristics of individual compositions, that is, their vocal and instrumental scoring, and overall musical structure. The study of scoring brings to light a highly pragmatic and adaptable approach on the part of the seventeenth-century musicians, one that tends to undermine any modern attempts to determine a single ‘authentic’ manner of performance, whilst an examination of structure reveals in particular the wide range of techniques adopted by composers to lend unity and coherence to a composition.
Giovanni Battista Viotti
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Viotti (1755-1824) is one of the most elusive figures in the history of music. The article in Grove’s Dictionary describes him as ‘the founder of the modern school of violin playing’. Of his twenty-nine concertos for violin and orchestra the best known, in A minor, No. 3, is said to have been written at the age of 14. (There must be some mistake here.) It will be interesting to see if Dr Adolf Busch can bring this most aristocratic of violin composers into his rightful position.
William Walton Coronation March, Crown Imperial
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Very great composers have sometimes written marches, and have enjoyed doing so. The history of criticism has no chapter on this subject, which is indeed little more than a paragraph in the depressing history of music written for great and patriotic occasions. Of the most famous of Handel’s four Coronation Anthems Mendelssohn remarks with astonishment that the beginning is as fine as anything that Handel or any man ever wrote, and the rest horridly dry and commonplace.
The Joachim Quartet (1902)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The listener comes from such performances as those of the Brahms F major Quintet on May 5 and the Beethoven A minor Quartet, Op. 132, last Monday with little mind for the customary classification of players into ‘schools’ and less mind for musical metaphysics in general.2 And yet the impressions these thrilling musical experiences leave on us are not describable in merely musical terms. They are so moving and so human that, if they are to be described at all, only the most general terms will be of any use, and even the least pretentious will be inoffensive.
‘Our Miss Fanny’: In Memory of a Great Artist (1934)
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

With Fanny Davies1 something more vital than a tradition has passed away.2 By ‘the Schumann tradition’ we mean the tradition of Clara, not Robert Schumann; for he was not disposed to found any tradition and her habit of mind was to regard the establishing and maintaining of the right tradition as a sacred duty.

I can remember enough of Clara Schumann’s playing to distinguish between my proper childish acceptance of its authority and my free impressions, some of which were as disappointing as a child’s first sight of the sea if he has been told of its boundless immensity.
Wagnerolatry and Medieval Bells
Authors: Thomson Andrew
Published: November 2023

The decade of the 1880s witnessed the rapid growth of Wagnerolatry in France, which soon reached almost epidemic proportions. Not only the power of the music itself—‘bleeding chunks’ of which were regularly performed at the Concerts Lamoureux—but also the well-propagated theory of the unity of all the arts provided an extraordinarily potent stimulus in most areas of cultural activity.
The Schola Cantorum in Action
Authors: Thomson Andrew
Published: November 2023

The year 1900 represented a landmark in the history of the Schola Cantorum. New premises were urgently required for its burgeoning activities, and an ideal solution, both practically and symbolically, was found with the acquisition of the for mer English Benedictine monastery at 269 rue Saint-Jacques, beside the great church of Val-de-Grâce.
The Art of the Trumpet-maker
Authors: Barclay Robert
Published: November 2023

This is a study of the manufacture of brass instruments, particularly the trumpet, in Nuremberg during the seventeenth and eighteenth centuries. The book begins with a brief history of the instrument and the city where it was made, and an introduction to the changes in style, shape, and ornamentation which occurred over more than two hundred years. The techniques of extraction and purification, and the chemical and physical structure of the metals are discussed, especially in relation to the use of authentic materials in reproductions. A separate chapter deals with solders for brass and silver and their use in the workshop. The tools and workshop facilities are identified and detailed using contemporary illustrations and examples from the author's workshop. The longest chapter, which is highly illustrated, deals with the techniques of fabrication as practised today, and draws parallels between them and historical practice. The book concludes with a discussion of the philosophy, ethics, and practicality of using historical instruments or accurate facsimiles in modern performance.
The Ostinato Fragments
Authors: Shreffler Anne C
Published: November 2023

In the summer of 1917, Webern had become convinced that his music had substantially changed. Two years earlier, he had already begun to experiment with longer motives and time spans in several extended fragments (including Trakl’s ‘In der Heimat’ and ‘In den Nachmittag gefhistert’). And after serving two extended stints in the army and experiencing the war first hand, he might well have approached composition differently from before. But Webern’s evaluation of his music as ‘something completely different from before the war’ seems exaggerated in the light of the published works from this year. The piano songs, ‘Die geheimnisvolle Flote’ and ‘Gleich und Gleich’ (Op. 12 Nos. 2 and 4), are hardly path-breaking; their musical language is remarkably consistent with that of the other Op. 12 songs composed two years earlier. Two other songs, ‘Wiese im Park’ (Op. 13 No. 1) and ‘In der Fremde’ (Op. 13 No. 3), feature a slightly larger scale, but their instrumentation, form, and motivic construction differ only in degree from pre-war compositions such as Two Songs, Op. 8 or ‘Die Einsame’ (Op. 13 No. 2).
La sede di musica
Authors: Baldauf-Berdes Jane L
Published: November 2023

IN the first full-scale guidebook to Venice, printed in I 5 8 I, the Venetian publicist Francesco Sansovino cites performers, performances, theorists, and instrument-makers to substantiate his claim for Venice as la sede di musica. Sansovino’s claim is one that apologists for other Italian cities seem neither to have challenged nor to have made on behalf of the musical culture of their own cities. A parallel exists in the title accorded to Rome as ‘La Santa Sede’ to reflect the fact that the official authority of western Christianity is centred there.
The Musical Scene in the Ottoman Period Initiatives and Rivalries
Authors: Hirshberg Jehoash
Published: November 2023

At the turn of the century the New Yishuv was boosted by an immigration wave, known as the Second Aliya (1904–13). Pushed by the pogroms against Jews in Russia which broke out in Kishinev in 1903, most immigrants were young socialists motivated to reform the traditional Jewish way of life through the creation of a new, just society, with hard physical labour and collective effort elevated to the level of religious adoration. They numbered 35,000–40,000 persons and their influence was especially prevalent in the political elite of the Yishuv for years to come.2
Music in the Land of the Bible, Pure Music, and Good Manners
Authors: Hirshberg Jehoash
Published: November 2023

The genre of the biblical oratorio maintained a special position in the heated ideological climate of the Yishuv. The solemn moralistic and educational stance of the oratorio since the times of Handel and Haydn had been enhanced by the opportunity to enact the biblical heroic stories in loco.
A Scene Change Enter the Germans
Authors: Hirshberg Jehoash
Published: November 2023

Boats are arriving carrying families from Germany whose children studied music with superb teachers there. They escaped persecutions in Germany, and they would like their children to resume their music lessons even before they complete their resettlement. They ask and even request that I allow the children to study, and they promise to pay as soon as everything calms down in Germany and they receive their property. Also, there are several excellent musicians who escaped from Germany and are looking for a place for peaceful life and work.1
Tchaikovsky’s Ballets
Authors: Wiley Roland John
Published: November 2023

Tchaikovsky's Ballets combines analysis of the music of Swan Lake, Sleeping Beauty, and Nutcracker with a description based on rare and not easily accessible documents of the first productions of these works in imperial Russia. Essential background concerning the ballet audience, the collaboration of composer and ballet-master, and Moscow in the 1860s leads into an account of the first production of Swan Lake in 1877. A discussion of the theatre reforms initiated by Ivan Vsevolozhsky, Director of the Imperial Theatres and Tchaikovsky's patron, prepares us for a study of the still-famous 1890 production of Sleeping Beauty, Tchaikovsky's first collaboration with the choreographer Marius Petipa. Professor Wiley then explains how Nutcracker, which followed two years after Sleeping Beauty, was seen by its producers and audiences in a much less favourable light in 1882 than it is now. The final chapter discusses the celebrated revival of Swan Lake in 1985 by Petipa and Leve Ivanov.
St Petersburg
Authors: Wiley Roland John
Published: November 2023

WE have seen that Swan Lakewas taken out of the repertory in Moscow in part because the imperial ballet in that city lost both personnel and financial support in one sweeping administrative reorganization. The Petersburg theatres were also reorganized, though not with such drastic results for the ballet, and a study of Tchaikovsky’s works as first produced in the Maryinsky Theatre should begin with a consideration of this theatre reform (as it was called at the time both in earnest and in derision) and its architect, Ivan Alexandrovich Vsevolozhsky 11835–1909).
The Operas of Verdi
Authors: Budden Julian
Published: November 2023

This is the first 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 I traces the organic growth and development of the composer's style from 1839 to 1851 - from the first opera, Oberto, to the seventeenth, Rigoletto. Budden examines each opera in detail with a full account of its dramatic and historical origins and a brief critical evaluation. More than 350 musical examples point to the significance of the early operas in Verdi's developing style.
Giovanna D’Arco
Authors: Budden Julian
Published: November 2023

The genesis of Giovanna d’Arco is one of the least documented among all Verdi’s operas. It seems probable that the contract arose out of an understanding with Merelli that Verdi should compose another opera for La Scala in 1845 to make up for the loss of his services in the previous year.* The librettist would be Solera as a matter of course; and his engagement would be Merelli’s responsibility not the composer’s.t Verdi himself had complete faith in the poet’s judgment and sense of theatrical effect and may even have left to him the choice of subject. Too often it is assumed that Giovanna d’Arco marks the beginning of Verdi’s love affair with the plays of Schiller, which was to prove so fruitful in later years. But a letter of Solera’s to the publisher Ricordi suggests otherwise. Remembering the fine that he had had to pay when Nabucco was given in Paris, Ricordi had written anxiously to the poet asking him to make sure that his libretto involved no breach of copyright, since he had heard of a contemporary French play ... Solera replied firmly:
Macbeth
Authors: Budden Julian
Published: November 2023

When in l 865 a French review greeted the premiere of the second and final version of Verdi’s Macbeth with the remark that the composer clearly did not know his Shakespeare, Verdi was furious-far more so than if the critic had merely said that the opera was a failure. ‘It may be that I have not done justice to Macbeth: but to say that I do not know, understand and feel Shachespeare (sic)-no, by God, no! He is one of my favourite poets. I have had him in my hands from my earliest youth, and I read and reread him continually.’* The ambition to set King Lear recurs as a rondo-theme throughout his life, though it was never to be realized. But a Shakespearian opera was inevitable sooner or later and it would be some thing very special-of that one could be sure. What subject to be given in what theatre at what time would all be determined like everything else in Verdi’s early career by external circumstances.
Stiffelio
Authors: Budden Julian
Published: November 2023

The detailed synopsis as well as the later correspondence with Somma must be left for another occasion. Cammarano was willing enough to discuss Verdi’s ideas sympathetically; but it is fairly clear that they were much too advanced for him. By June 1850 Verdi had to reconcile himself to the fact that as far as Cammar
The Operas of Verdi
Authors: Budden Julian
Published: November 2023

This is the second 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 2 covers those works written during the decadence of the post-Rossini period. During this time, Verdi, having exhausted the vein of simple lyricism to be found in Il Trovatore and La Traviata, achieved self-renewal in direct confrontation with the masters of the Paris Opera with his Les Vêpres Siciliennes. A new scale and variety of musical thought can be sensed in the Italian operas that follow, culminating in La Forza del Destino.
La Traviata
Authors: Budden Julian
Published: November 2023

It will be remembered how, in a letter to Cammarano of I 851, Verdi had spoken of ‘another subject which is simple and tender’ to which they could change if II Trovatore did not appeal to him. This is taken by Carlo Gatti to refer to LA Dame aux camélias.* Verdi had by that time no doubt read Dumas’s novel even if he had not seen the play. But the hypothesis is unlikely. For the 1850s the story of Marguerite Gauthier was not so much ‘simple and tender’ as bold and rather shocking, and we may be certain that it would have scared Cammarano out of his wits. But for his next commitment, planned for the carnival season of 185 3 at the Teatro la Fenice, it would seem that Verdi had a prima donna opera in mind, since before signing the contract he showed particular interest in the leading soprano proposed for the season.
La Forza Del Destino
Authors: Budden Julian
Published: November 2023

For two years after the premiére of Un Ba/lo in maschera music seems to have faded from Verdi’s mind, to judge from his correspondence. Friends who asked for signed musical quotations were put off with the excuse that he could not remember a note of his last opera. ‘I fear that Verdi has forgotten everything he knew about music,’ Giuseppina, now at last Signora Verdi, wrote to De Sanctis; ‘in which case it will be up to you to give him some lessons and get him back into practice.’*
The Publications
Authors: Harrán Don
Published: November 2023

All of Rossi’s surviving works are known from early printed editions. There may have been others originally in manuscript and no longer extant, among them those for the theatre. Four of his madrigals for an intermedio by Chiabrera illustrate the problem: the texts remain, but not the music. Since Rossi was active in the theatre, it stands to reason that more was composed than the lone musical example, for a Christian play, to be found in the sources. As for the Hebrew songs, Rossi, we learn, worked, over a number of years, to assemble a collection of them, from which he selected various ones for publication: here, too, it may be assumed that manuscript copies of others were once available.
Helen and Matthew
Authors: Alvin Juliette , Warwick Auriel
Published: November 2023

Helen and Simon were married in 1980. Both were university graduates, trained in biological sciences. They decided that they would not delay starting a family for too long and so Matthew was born in October 1982. Helen decided to give up work after about five months of her pregnancy. Although she thought little of it at the time, her work had involved working with pesticides over a period of six years. She does not know whether this had any effect on Matthew.
The Third Movement
Authors: Frogley Alain
Published: November 2023

The Scherzo gives a new dimension to the compositional concerns of the first two movements. Juxtaposition, although remaining a vital element, is overshadowed by superimposition: as in the Scherzo of the Sixth Symphony, Vaughan Williams revels in piling up his themes in contrapuntal combination, and an idea is rarely repeated without the addition of a new counter point. This tendency was already apparent at times earlier in the symphony, but here it becomes the driving force, pursued relentlessly and sometimes brutally. If the second movement saw a hardening of the juxtapository contrasts of the opening movement, the Scherzo takes this a step further, with contrasting themes now heard simultaneously as well as in close proximity; rather than mediating between contrasts, the vertical combinations on the whole accentuate them. A strong element of mockery also enters the process. As Hugh Ottaway remarks, much of the material is ‘knowingly trivial’, and it seems almost as if the serious exploration of contrast and conflict in the first two movements is now being deliberately debased (note in particular the distorted echo of Themes 2 and 3 of the second movement in the opening semitone clash and martial rhythms).
Salisbury Hardy and Bunyan: The Programmatic Origins of the Symphony
Authors: Frogley Alain
Published: November 2023

The second movement, Andante Sostenuto, seems to have no logical connection between its various themes. This has led some people to think that it must have a programme since apparently programme music need not be logical. It is quite true that the movement started off with a programme, but it got lost on the journey-so now, oh no, we never mention it-and the music must be left to speak for itself whatever that may mean.
Later Victorian Music and the ‘English Renaissance’, 1870–1914
Authors: Caldwell John
Published: November 2023

The collapse of the Pyne–Harrison English Opera Company in 1866 was undoubtedly a setback, but it coincided with the passing of a tradition that had outlived its usefulness. Balfe and Wallace in particular had perfected a style of opera with dialogue that placed a high value on sheer entertainment: their pieces had supposedly serious but in any case romantic plots, and music that was sparkling or sentimental as occasion required. But the often threadbare dramaturgy and the sometimes comically stilted dialogue were beginning to pall, while the mid-century Franco-Italian musical idiom could not be milked forever. The genre offered little opportunity for further development other than through Verdian pastiche; even in France, the vastly more gifted Bizet was initially unsuccessful in his bid to raise the level of opéra comique with Carmen (1875). Similarly, the more Germanic idiom espoused by Barnett, Loder, and Benedict was incapable of further development except through the adoption of thoroughgoing Wagnerism.
Tradition and Avant-Garde, 1945–1975
Authors: Caldwell John
Published: November 2023

If ever a musical event had symbolic importance it was the first performance of Britten’s opera Peter Grimes at the Sadler’s Wells Theatre on 7 June 1945, almost one month after Victory in Europe. The opera was, however, the fruit of a long gestation of fully four years, and initial reactions were decidedly mixed; with hindsight one is in a better position to judge of its significance than at the time, yet the coincidence of material and artistic recovery was rapidly confirmed by the international success of the work in the immediately following years. Indeed a striking feature of the post-war period was the place of music in the regeneration of cultural life, commensurately almost with architecture, which for obvious reasons had primacy at the time. Opera at Sadler’s Wells, Covent Garden, and Glyndebourne (and ballet at Sadler’s Wells) were all revived in forms that proved durable; other festivals were those at Cheltenham (from 1945, devoted to contemporary British Music), Aldeburgh (from 1948,) and, to glance briefly across the border, Edinburgh (from 1947). Britten’s English Opera Group catered for operatic adventures that the established companies could not then be expected to entertain.
Folk Music and Popular Music
Authors: Caldwell John
Published: November 2023

The subject of this chapter is easier to describe than to define. Beside the national body of centrally developed art-music, its style the outcome of a narrowly focused tradition of imitation and innovation, stands a mass of material that lies outside the main stream, related to but not dependent on it, rather as regional dialects may be related to a central standardized language. A regional character is indeed an important facet of what has come to be called folk music, though this does not preclude the transmission of melodies and melody-types across regional and even national boundaries. Just as important is its cultivation and preservation in a stratum of society that exists independently of the ‘higher’ civilization that surrounds it, though this again does not preclude the transference of material across the social boundaries, whatever its origin. But notwithstanding the potential for regional and social migration, it seems important to maintain a distinction between folk music, rural or urban, and the commercially produced variety that we think of as ‘popular’. Even here the distinction is blurred by the fact that so much ‘true’ folk music seems to have originated in the commercial enterprises of towns and cities, for example in the production of single-sheet ballads to be sung to existing well-known tunes.
Plainchant in the Liturgy
Authors: Hiley David
Published: November 2023

Plainchant is liturgical music, music to be performed during the celebration of a divine service. The performance of the music is not, generally speaking, an end in itself but part of a religious ritual. Sometimes music assumes a prominent place within the performance of the ritual, sometimes a very minor one. Occasionally it has been cultivated with an exuberance and extravagance that seems to go beyond the needs of the liturgy; but this is not its normal role. Its function is to add solemnity to Christian worship.
The Italian Mandola/Mandolino in the Seventeenth Century
Authors: Tyler James , Sparks Paul
Published: November 2023

The term mandola begins to appear in Italian documents from the late sixteenth century, first occurring in the descriptions of the famous Florentine intermedi of 1589.1 Composed for performance between the acts of Girolamo Bargagli’s comedy La Pellegrina, part of the festivities celebrating the wedding of Ferdinando I de’ Medici and Christine of Lorraine, the intermedi required many voices and instruments, among the latter, a ‘mandala’. According to the descriptions, a ‘mandala’ was used in Christoforo Malvezzi’s sinfonia in the first intermedio, and in his madrigal, ‘O qual risplende nube’, in the sixth intermedio (Brown 1973, 109 and 128). As the mandala is only listed but is not assigned a specific line of music to play, we can only speculate as to how the instrument was employed.
The Irish Year (1917-1918)
Authors: Smith Barry
Published: November 2023

Away from the pressures of life in London and the fear of conscription, Philip was now able to devote considerable energy to his many varied interests. As Jack Lindsay wrote: ‘Ireland gave him a sense of escape from corruption’, with which he now associated London. The novelist, playwright, and editor, Douglas Goldring (1887-1960), recorded his first meeting with his friend Philip when he called at his rooms soon after his arrival in Dublin. Philip was suffering from an appalling cold and, in typically eccentric fashion, was passing the time by reading aloud a translation of the works of Apollonius of Tyana to Puma, whom Goldring described as ‘extremely beautiful’. Goldring’s first impression of Philip was one of ‘abstemiousness’ when, offering him some alcohol at a subsequent meeting, he refused even a glass of sherry.