bluuebunny/crossref_metadata_2025 huggingface dataset:
Empire to 1783
Authors: Gee Austin
Published: November 2023

Bayly, C.A. ‘The first age of global imperialism, c.1760-1830’, Journal of Imperial and Commonwealth History 26:2 (1998), 28-47. Frost, Alan. The precarious life of James Mario Matra: voyager with Cook, American loyalist, servant of empire. (Carlton (Vic): Miegunyah Press, 1995), xiv, 264p. Kulke, Hermann; Rothermund, Dietmar. Geschichte Indiens. Von der Indus-kultur bis Heute [History of India from the Indus culture to the present], 2nd edition. (Munchen: C.H. Beck, 1998), 509p.
Empire and commonwealth post 1783
Authors: Gee Austin
Published: November 2023

Austin, Dennis. ‘In memoriam: legacies of empire’, Round Table 348 (1998), 427-39. Aylmer, Richard John. ‘The imperial service of William Aylmer, 1800-14’, Irish Sword 20:81 (1997), 207. Feinstein, Charles H. ‘The end of empire and the golden age’, A38, 212-33. Jeal, Tim. ‘David Livingstone:a brief biographical account’, A113,13-74,220. Lovell, Mary S. A rage to live: a biography of Richard and Isobel Burton. (London: Little, Brown, 1998), xvii, 910p.
Baudelaire and Proudhon (II): A Reading of ‘Assommons Les Pauvres!’
Authors: Burton Richard D E
Published: November 2023

Il m’avait semblé seulement que je sentais, confineé au fond de mon intellect, le germe obscur d’une idée superieure àtoutes les formules de bonne femme dont j’avais recemment parcouru le dictionnaire. Mais cen’était que 1’id é e d’une id é e, quelque chose d’infiniment vague.
From Military Dictatorship to the European Union I967–I992
Authors: Beaton Roderick
Published: November 2023

The period of the Colonels’ junta, from 1967 to 1974, marks a significant transition from the polarized divisions of the period of Greek history that goes back to the Asia Minor disaster of 1922, to a new phase whose foundations, we can now see in retrospect, were quietly being laid in the 1960s. In the short term, the rule of the Colonels brought back much of the rhetoric and most of the repressive measures that had been used earlier by Metaxas, and against the Left during the civil war. In the first years of the Colonels’ rule, laws of censorship were so strict that many writers of literature refused to publish in Greece at all.
Literature and Language: The ‘Language Question’
Authors: Beaton Roderick
Published: November 2023

Literature is nothing if not language, and in a Greek context language, the raw material of literature, has not been something that writers or readers could take for granted. On the eve of Greek independence, in the second half of the eighteenth century, the need for a written ‘standard’ (in the sense in which the term is used in modern linguistics) came to be recognized and debated in intellectual circles. This was the beginning of the notorious ‘Language Question’, which reached a climax in the polarization and even violence of the first years of the twentieth century, and has still not entirely died down despite reforming legislation in the 1970s and 1980s.
Structuralism Utopian and Scientific
Authors: Knight Diana
Published: November 2023

BARTHEs’s model of myth as a two-tier sign system offers a powerful and self-confident analysis of the way in which alienating mystifications achieve their purpose. ‘Myth Today’, therefore, might be considered an optimistic declaration of the political potential of Saussurean semiology: ‘whatever its mistakes, mythology is certain to participate in the making of the world.’ Indeed the ethical impulse is explicitly utopian: ‘founded on a responsible idea of language, mythology thereby postulates the freedom of the latter.
Tricks of the Text
Authors: Knight Diana
Published: November 2023

IN the early I97os Barthes published a series of essays on the politics of utopia, all of which addressed, at least in passing, the question that had first appeared in his work more than twenty years earlier: could language be liberated ahead of history? The dilemma is clearly posed in a section of ‘Writers, Intellectuals, Teachers’ ( 1971) where Barthes argues from the helpful analogy of two sorts of typing error.
Maternal Space
Authors: Knight Diana
Published: November 2023

IN Beyond the Pleasure Principle, the to-and-fro movement that marks Freud’s speculations on life and death is initiated by the now mythical anecdote of the fortlda-a young child teaches himself mental control over his mother’s absences in what turns out to have been a literal rehearsal for her early death.
The Period In Close-Up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm
Published: November 2023

Between Villon, who was writing in the mid-fifteenth century, and Rabelais, whose Pantagruel first appeared in 1532, there are no French writers whose names are widely remembered. During this period, the rich and powerful culture of Burgundy is in decline, while the political and economic shift which, by the third decade of the sixteenth century, brings about a concentration of affluence and cultural resources at the French royal court and in the trading city of Lyons, is still in process.
Independent Producers
Authors: Harper Sue , Porter Vincent
Published: November 2023

THE 1950s ushered in a new climate for independent production. The retrenchment of the Rank empire in 1948 9 meant the closure of Independent Producers Ltd. and most of its privileged incumbents went to work for Korda at British Lion. Moreover, the closure of Gainsborough meant that Sydney Box also became free-lance. Independent production became artisanal and each producer had to subsist between pictures. It was not until the end of the decade that independent producers managed to regroup into two self-governing consortia. The support of independent production was therefore central to the politics of 1950s cinema. For several years, the perceived need to support independent production justified what were effectively state subsidies for the financially ailing British Lion, where producers like Powell and Press burger, Launder and Gilliat, David Lean and Ian Dalymple were sheltering under Korda’s wing. Moreover, the official aim of the British Film Production Fund was to support the independent producer by channelling a proportion of exhibition revenues directly to him, thus reducing the distributor’s share. On the financial front, the role played by the NFFC was crucial. In May 1949, the Treasury’s Capital Issues Committee decided to reject any application from a film producer to raise a bank loan. The only exceptions were to be the smallest opera tors, such as Exclusive, who needed less than £50,000 per year. This ruling effectively compelled most independent producers to rely on the distributors for production finance. It was not until the Conservatives won the 1951 election that the Treasury agreed to regard bank loans as self-liquidating funds, provided they were still guaranteed by the distributor.3 A fortnight later, the Treasury also agreed to allow a producer to borrow additional funds to guarantee completion of production, largely because ‘anything which strengthens the production of films in this country becomes a dollar saver.’4
The Cinema Audience Responds
Authors: Harper Sue , Porter Vincent
Published: November 2023

BRITISH cinema during the 1950s was a social institution as well as an industry. Films were watched as well as made; and the manner in which cinema audiences responded to them offers an insight into the changing cultural and psychological values of the decade. For many, cinema-going was a social habit, but others selected from the films those elements which assuaged their anxieties or stimulated their imagination. Even though the films of the period do not offer the historian a direct reflection of social reality, they do provide a series of insights into the fears and fascinations of a society that both looked back with pride to the nation’s military and social achievements in the Second World War and sought to negotiate the social and cultural challenges posed by the emergence of a consumer society. Moreover, while some cinema-goers looked to Hollywood’s melodramas and musicals for insights into life and values at the leading edge of post-war modernity, many others, who felt trapped in Britain’s traditionally class-bound society, looked to British films for ways in which to adjust to the changing values of the nation’s newly emerging meritocracy. For most cinema-goers, however, the choice of which film to watch was often highly restricted. The principal distributors, some of whom owned their own exhibition outlets, carefully structured the supply of films, in order to maximize their revenues. It was only in London and the large metropolitan cities that audiences were able to exercise an extensive choice between programmes mounted by competing cinemas. In many provincial cities, competition was restricted to two or three circuit cinemas which could show only their national release, while cinema-goers in small towns often had access to only a single cinema.
Conclusion
Authors: Harper Sue , Porter Vincent
Published: November 2023

THE narrative of 1950s British cinema is one in which successive Governments struggled desperately to keep a national industry alive in an international market place, while simultaneously nurturing a domestic electronic rival-the television industry. Harold Wilson’s early interventions at the Board of Trade, which were particularly designed to support independent producers, were well-intentioned but half-baked. The Treasury never allowed the NFFC sufficient funds to fulfil its responsibilities, and although the Corporation’s attempts to establish semi-autonomous groups promised much, they delivered little that was new. The NFFC also expended a great deal of energy and money in keeping both British Lion and Group 3 afloat. It was not until 1957 that a change in the Corporation’s terms of reference enabled a new generation of its directors to work with the market rather than against it. The Corporation then began to take more cultural risks by sup porting films that would appeal to the younger, more adventurous, audiences. Hammer and Anglo-Amalgamated started to flourish, while Ealing, Rank, and ABPC stagnated.
Male chains
Authors: Segal Naomi
Published: November 2023

IN the last chapter we followed femininity in Gide through fantasies of triangulation towards a female chain which could not material¬ize. I suggested that in his writings there are no couples, and that while heterosexual couples multiply out into triangles, the m-m pair tends to be extended into a chain modelled on the structure of pederastic desire. ‘I am very curious to know Caloub ‘ (p. 1248) are the last words of Les Faux-monnayeurs; spoken in Edouard ‘s voice, they point the way out beyond the sexual-epistemological couple to a line of possibilities continuing in time and space. This is the male chain. It will appear in a number of different modes: fraternal, genealogical, narratological, educational, religious, logical; it may flow like a liquid or form institutional structures. We saw its base formation in Chapter 2 in the shape of Gide ‘s three successive objects of desire. Progressing temporally or spatially, it can be read either this way or that: Nature forms a network without beginning or end, an uninterrupted succession of links which might be taken hold of in any direction; and nothing is more difficult than to decide whether each piece finds its raison d ‘etre in the one before or the one after (assuming, that is, that it has any raison d ‘etre) or whether the whole book of Nature, in order to be really understood, docs not need to be read in reverse order-in other words, if the last page is not the explanation of the first one, the last link the secret motive of the beginning ... A tclcologist is someone who reads the book backwards.
Uncles and aunts
Authors: Segal Naomi
Published: November 2023

Gide‘s writing is haunted by genetics and genealogy. We have seen this in the structures ofheterosexual triangulation, the male chain, and the bastard as ‘swerve ‘. Nowhere, he seems to be saying, shall the tem¬poral line of the generations be a straight one. In Corydon most fo¬cusedly, we have seen his fascination with the horticultural re-routeing of plant reproduction and a very similar vocabulary used in the description of the natural history of animal sexuality: the female¬ feminine trunk as base and the male-masculine branches, leaves, and fruit as the aesthetics of excess. If we pull all these images together, we have the family tree, conceived as a closed hydraulic system in which fluid-semen/blood as sap-may be controlled, produced, and redirected.
From the Beginnings to the Middle of the Thirteenth Century
Authors: Caldwell John
Published: November 2023

WHEN during the course of the fifth century Britain was first colonized by Germanic peoples in appreciable numbers, they brought with them a long-standing tradition of sung narrative poetry, which according to. Tacitus was their only record of the past. Although similar traditions no doubt already belonged both to the Celtic peoples whom they eventually supplanted in most parts of Britain, and to the Scandinavians who invaded and settled in large numbers from ·the end of the eighth century, it was in the context of the Anglo-Saxon language and culture that the genre first made a noticeable impact on the artistic life of the country. The great monument of this tradition is Beowulf, a poem of over 3,000 lines and the oldest epic in any Germanic language. Neither its date nor its place of origin is known for certain, but an eighth-century Midlands or Northern milieu is generally assumed. The single manuscript in which it has come down to us, however, was written in Wessex in the tenth century, and it is uncertain how closely the extant version resembles chanted heroic poetry, orally composed and orally handed down from singer to singer. Nor do we know to what extent the poem, even if faithfully recorded in the first instance from an authoritative branch of the oral tradition, was subsequently modified on the basis of written copies. In all probability a poet of genius has at some point refined and polished a rougher original, perhaps arranging a number of distinct lays into a single cohesive narrative. That, after all, is a plausible view of the Homeric poems, or, in a period long after that of Beowulf, such European masterpieces as the Chanson de Roland and the Nibelungenlied.
Secular Vocal Music, 1575—1625
Authors: Caldwell John
Published: November 2023

THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.
Instrumental Music, 1575—1625: Musical Life and Thought
Authors: Caldwell John
Published: November 2023

INSTRUMENTAL music existed in great variety and profusion during this period, far exceeding in quantity the written survivals from the preceding thirty years when it had first emerged as a fully independent repertory. Solo lute and keyboard music were assiduously cultivated, the former for the first time as a sophisticated and self-sufficient art-form, the latter newly weaned from its liturgical dependence. In the field of chamber music, while the ‘whole consort’, especially of viols, retained its pre-eminence, there was much experiment with the artistic use of new media, particularly of various kinds of ‘mixed’ consorts and, in the reign of James I, the combination of a keyboard instrument (usually the organ) with others.
French Influence in the Caroline Masque
Authors: Walls Peter
Published: November 2023

Shirley’s play was licensed for performance at the end of 1632 (the year in which the most sought-after Dutch portraitist, Van Dyck, took up residence in England). The Ball’s satire on the court and its prevailing fashions proved almost too close for comfort; Lord Herbert, the Master of the Revels, considered having the play banned because ‘there were divers personated so naturally, both of lords and others of the court, that I took it ill’. The word ‘ball’ is itself a French borrowing.
Realizations
Authors: Walls Peter
Published: November 2023

In the preceding chapters a number of basic points about the function of music in the masque have emerged. We have seen that the dances of the main masque are presented as models of the happy peace, co-operation, and order characterizing a wisely governed commonwealth. While this is made explicit by the words of the songs which introduce them, the choreography and the clear formal structure of the music itself supports the idea. The masque songs themselves are stylistically sophisticated—worthy vehicles for (and illustrations of) the ideas they convey. The special importance of music and song is underlined in many ways, but most obviously through the characterization of musicians as priests, deities, or ancient poets.
London
Authors: Horton Peter
Published: November 2023

WHEN Sarah Wesley penned those damning words in 1817, the possibility that her seven-year-old nephew Samuel Sebastian would become the fore-most church musician of his generation would surely have filled her with amazement and disbelief But such is the power of human determination when allied with true talent that, even with such an inauspicious start as an illegitimate birth and a home in which he would often have experienced real poverty, ‘this poor Boy’ quickly rose to the top of his profession and, at the end of his career, received official recognition with the offer of a knighthood or Civil List pension.
Leeds
Authors: Horton Peter
Published: November 2023

It must indeed have been a shock to Samuel Sebastian and Mary Anne to exchange the fine buildings and rural surroundings of Hereford and Exeter for the ‘dirt, smoke, and inhabitants’ of Leeds, for the contrast between Devon and industrial Yorkshire could not have been greater. Whereas Exeter had owed its prosperity to traditional industries based on the wool trade, Leeds, whose population had risen from 53,162 in 1801 to 123,393 in 1 831 and was still increasing, 4 was very much a product of the industrial revolution, ‘situated in the midst of one of the most thriving manufacturing districts in the kingdom’.5 But for Wesley such things would have mattered little.
Liturgy and Chant
Authors: Spink Ian
Published: November 2023

On 26 May 1660 King Charles II and his brother James, Duke of York, landed at Dover. His first Sunday service was at Canterbury Cathedral the following day, and on 29 May--his thirtieth birthday-he entered London in triumph. The Restoration was an accomplished fact, and Charles resolved never to go on his travels again.
Captain Cooke’s Boys: Humfrey, Blow, and Turner
Authors: Spink Ian
Published: November 2023

Cooke’s first set of choirboys included Michael Wise, Pelham Humfrey, John Blow, Robert Smith, and William Turner. As has already been mentioned, Clifford includes the words of six anthems by Smith, five by Humfrey, and three by Blow in the 1664 edition of Divine Setvices. The encouragement given to these lads came from none other than the king, as Thomas Tudway (who had experienced it) reports.
Henry Purcell
Authors: Spink Ian
Published: November 2023

Purcell’s church music amounts to three services, sixty-five anthems, and a set of funeral sentences.1 Though some were written for Westminster Abbey, and others--probably the majority- -for the Chapel Royal, his output will be considered more or less chronologically, irrespective of function and place except in so far as these are inherent in the chronological sequence.
Cambridge
Authors: Spink Ian
Published: November 2023

The title-page of an anthem word-book printed at Cambridge in 1706 informs us that at King’s College the choral service was sung daily throughout the year; at Trinity, St John’s, and Jesus Colleges ‘upon Sundays and Holy Days’, and at Peterhouse, Pembroke, Christ’s, and Emmanuel ‘upon Extraordinary Occasions’. Services were also sung ‘before the University, in Great St. Mary's Church, upon the chief Festivals of the Year’.
Canterbury
Authors: Spink Ian
Published: November 2023

As befitted the dignity of the primatial see, Canterbury was one of the richest cathedrals of the new foundation. By the Henrician statutes the choir consisted of twelve minor canons in priests’ orders, twelve lay clerks, and ten choristers. Although it was a large choir, almost from the first the problem of finding so many priests sufficiently skilled in music to serve as minor canons led to the introduction of lay ‘substitutes’.
Carlisle
Authors: Spink Ian
Published: November 2023

Even before the Civil War it was said, somewhat derogatorily, of the music in Carlisle Cathedral that ‘the Organs and voices did well agree, the one being like a shrill Bagpipe, the other like a Scottish Tone’. In view of the extreme geographical situation and modest musical establishment of eight minor canons, four lay clerks, and six choristers, such a comment is hardly surprising.
Dublin
Authors: Spink Ian
Published: November 2023

Despite the fact that the bulk of the population of Ireland was Catholic, the Prayer Book was re-established there as in England, and, at least in the fifteen or so cathedrals with vicars choral, the follcathedral service should have been restored. But it was really only in Dublin, with its two cathedrals-Christ Church, a monastic foundation re-established in 1541, and St Patrick’s, an ‘old foundation’-that anything comparable with England was to be found.
Hereford
Authors: Spink Ian
Published: November 2023

Although there were twenty-seven vicars choral of Hereford when they were incorporated in 1395 (and, a century later, twenty-seven small two-roomed houses to accommodate them in the vicars’ cloister), their numbers were reduced in the sixteenth century. The statutes of 1637 confirmed this state of affairs:
London
Authors: Spink Ian
Published: November 2023

London’s cathedral was St Paul’s·····a great medieval secular foundation and in 1660 the largest Gothic church in Europe. Just over a mile up-river was Westminster, where the abbey church of St Peter, dissolved at the Reformation, had been re-established in I 560 as a ‘Royal Peculiar’ with Dean and Chapter and a lavish choral and educational foundation. A few hundred yards to the north was the palace of Westminster, where the king had his court and Chapel Royal.
Wells
Authors: Spink Ian
Published: November 2023

At the archiepiscopal visitation of I 634, the Dean and Chapter of Wells stated that under their statutes the choir consisted of ‘fowerteene vicars at the least, one organist, six coristars’. Post-Restoration records suggest that it was kept pretty well up to strength, with priests or laymen without distinction varying in number between eleven and fourteen, including the organist.
In the Footsteps of Schumann
Authors: Williamson John
Published: November 2023

In 1936, Pfitzner looked back at the puzzling relationship which existed between the two composers whose careers had most helped to shape his own. The mutual incomprehension with which Schumann and Wagner had regarded each other was a historical conundrum which Pfizer was not the man to shirk.
Pfitzner and the Lied
Authors: Williamson John
Published: November 2023

The two genres which Pfitzner most persistently cultivated were chamber music and song, but whereas his quartets and sonatas have established their reputations mostly among connoisseurs, his songs have been the subject of wider acclaim and are more regularly performed. Song-writing was not a lifelong preoccupation for Pfitzner. His interest in the Lied broke off in 1931 with a group of sonnets after Burger and Eichendorff that have an unmistakably valedictory character, not least through a quotation in the last (‘Das Alter’, Op. 41 No. 3).
Nationalism and Modernism
Authors: Williamson John
Published: November 2023

The first performance of Palestrina on 12 June 1917 in Munich under Bruno Walter was the most visible sign of a climax to Pfitzner’s career. In reasonably close succession followed his adoption as a member by the Royal Swedish Academy and the foundation of a Hans-Pfitzner-Verein for deutsche Tonkunst. His music of this period was possessed of a resultant self-confidence, as evidenced in the finale of the Violin Sonata (written for Stockholm), while Das Christ Elflein in its new version as a Spieloper represented the most complete working-out of the folk-like vein which always resided in his style. But then came the military disasters of late 1918 which led to his departure from Strasbourg.
Opera under Gallini (1785–1790)
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

The four seasons between 1785 and the destruction of the King’s Theatre in June 1789 were operatically the best of any during the last two decades of the eighteenth century. London came closer to being pre-eminent in Italian opera than at any time since the 1720s. No wonder Mozart and Haydn both had hopes of crossing the Channel.
Haydn and the Opening of the New Theatre, Spring 1791
Authors: Price Curtis , Milhous Judith , Hume Robert D
Published: November 2023

In January 1791 the state of Italian opera in London could fairly be described as muddled. William Taylor was working frantically to complete his theatre but had little prospect of obtaining legal authority to open it. A company had been hired for both opera and ballet, but how could it be paid unless it could perform?
The Revision of Counterpoint and the Embellished Style
Authors: Palisca Claude V
Published: November 2023

This essay was first published in a German translation as ‘Die Neuordnung des Kontrapunkts undderverzierte Stil’ in Italienische Musiktheorieim  16. and 17.  jahrhundert: Antikenrezeption und Satzlehre, volume 7 of Geschichte der Musiktheorie, edited by Frieder Zaminer (Darmstadt: Wissenschaftliche Buchgesellschaft, 1989), 265-92. This is one of four chapters in a section entitled ‘Die Jahrzehnte um 1600 in Italien’ (221 – 306) that I was commissioned to write by the Staatliches Institut fiir Musikforschung, Preufßischer Kulturbesitz, Berlin. I submitted the English version of the essay published here in July 1980.

Although there is some overlap with Essays 2, 3, and 4, the redundant material is here placed in a larger context, and it seemed worthwhile to preserve the English version in this way.
Vincenzo Galilei’s Counterpoint Treatise: A Code for the Seconda pratica
Authors: Palisca Claude V
Published: November 2023

This essay first appeared in 1956 in the Journal of the American Musicological Society, 9 (1956), 81 96. A shorter version was read on 28 December 1955 at the annual meeting of the Society in Princeton, New Jersey. This was not a time when much attention was paid to the work of theorists of the distant past, whether published or not. Scholars went to them mostly to solve problems of transcribing and editing early music and to seek answers to questions on how to perform it.
Marco Scacchi’s Defence of Modern Music (1649)
Authors: Palisca Claude V
Published: November 2023

This essay was first published in Words and Music: The Scholar’s View, A Medley of Problems and Solutions Compiled in Honor of A. Tillman Merritt By Sundry Hands, edited by Laurence Berman (Cambridge, Mass.: Department of Music, Harvard University, 1972), 189–235.
Boethius in the Renaissance*
Authors: Palisca Claude V
Published: November 2023

This paper was prepared for the conference ‘Musical Theory and Its Sources: Antiquity and the Middle Ages’, held at the University of Notre Dame 30 April to 2 May 1987. It was first published in Music Theory and Its Sources: Antiquity and the Middle Ages, edited by Andre Barbera (Notre Dame, Ind., 1990), 259–80.
Towards an intrinsically Musical Definition of Mannerism in the Sixteenth Century
Authors: Palisca Claude V
Published: November 2023

THIS convegno, it might be said, is about a word in search of a concept. Scholars, quite rightly, prefer to put concepts into words. But having chosen the word, they often find that it has enriched or even unduly amplified the concept. Or the word may restrain a concept from reaching out to embrace what it ought logically to include.
The Alterati of Florence Pioneers in the Theory of Dramatic Music
Authors: Palisca Claude V
Published: November 2023

This essay was first published in New Looks at Italian Opera: Essays in Honor of Donald]. Grout (Ithaca, NY: Cornell University Press, 1968), 9-38. It is a reworking of a paper read at a meeting of the Greater New York Chapter of the American Musicological Society at the New York Public Library on 28 April 1962. The research in Florence in 1960–1 on which this essay was based was made possible by a fellowship from the John Simon Guggenheim Memorial Foundation.
Introduction
Authors: Hudson Richard
Published: November 2023

The Italian word rubato means robbed or stolen. Tempo rubato is stolen time. The expression appears during the first half of the eighteenth century to describe a practice in baroque vocal music: some note values within a melody are altered for expressive purposes while the accompaniment maintains strict rhythm. This type of rubato continues in vocal and violin music well into the nineteenth century. Keyboard music incorporates this earlier type of rubato during the second half of the eighteenth century. Eventually, however, the expression tempo rubato begins to refer to rhythmic alterations not only in the melody, but in the tempo of the entire musical substance.
Background of the Earlier Rubato
Authors: Hudson Richard
Published: November 2023

The sort of rhythmic robbery involved in the earlier rubato occurs well before 1723 in a number of compositional devices and techniques of performance practice. It appears during the Middle Ages and Renaissance as a notated aspect of melodic variation in compositions for keyboard and plucked string instruments. During the second half of the sixteenth century a similar procedure occurs also in the improvised ornamentation practised by singers and players of melody instruments. After 1600 the technique is employed more and more for expressive purposes.
Violin Music in the Sixteenth Century
Authors: Boyden David D
Published: November 2023

Much of the specific information about the origin and development of the violin, related in the first two chapters, raises provocative and tantalizing questions. What kind of music was composed for the violin during the first century of its existence? Who played it, how was it performed, and under what conditions? Was the music written for the early violin of three strings different from that for the four-stringed violin after 155o-or, for that matter, from music for the viols? Was the violin used to accompany voices in such prevailing forms as the masses, motets, chansons, and madrigals? To what extent did the violins usurp the place and role of their ancestor instruments?
The Violin Music of the Early Eighteenth Century
Authors: Boyden David D
Published: November 2023

Tn theighteenth century the ever-increasing popularity of the violin and its music was not without opposition from lovers of the viols and vocal music, who were generally champions of the good old times and who saw their favourites encroached upon by the upstart violin.
The Technique of the Violin, 1700-61 (II): The Right Hand. The Bow Stroke and Bow Change. The Rule of Down-Bow
Authors: Boyden David D
Published: November 2023

Tn theighteenth century, as always, the musical effectiveness of the violinist depended on the skilful co-ordination of the right and left hand, each of which played a distinct role, but a role that was complementary to the other. The left hand was responsible for fingering and for certain means of attaining expression and colour, notably vibrato, ornaments, harmonics, and the tone colours of different strings in their different hand positions. The right hand was responsible for producing the tone in general and for giving it an expressive eloquence through the variety of bow strokes, through the dynamic nuances applied to them, and through such special effects as pizzicato and sul ponticello. While these are the general responsibilities of the right and left hand in all periods of violin playing, a difference of degree or emphasis distinguishes one period from another. Compared to modern custom, for instance, the eighteenth-century violinist used a less intense vibrato, he used it less frequently, and he practised a bow stroke that was less sustained but more articulated and nuanced.
Specific and Improvised Ornaments. The Cadenza
Authors: Boyden David D
Published: November 2023

By 1700 the conventional ornaments, such as the trill and mordent, were indicated increasingly by signs. This method was simpler than writing out the notes; and, if it was less exact, it had other advantages, including a greater liberty to the performer and a quick distinction between what was ornamental and what was structural in the music. In certain cases, as in Tartini’s appoggiaturas, the use of grace notes (‘small’ notes) implied the addition of a particular kind of nuance as well as slurring the appoggiatura to the following note (cf. p. 455). The specific signs also had the effect of preventing further ornamentation, as opposed to a part written out in ‘big’ notes.
North German Church Music in the Age of Buxtehude
Authors: Webber Geoffrey
Published: November 2023

Dietrich Buxtehude (c. 1637-1707) was the greatest figure in the history of German music between Schutz and Bach. His church music is performed today, yet that of his North German contemporaries (such as Matthias Weckmann, Christoph Bernhard, Nicolaus Bruhns, and Johann Meder) has received comparatively little attention. This book, taking its lead from Jerome Roche's illuminating study North Italian Church Music in the Age of Monteverdi (OUP, 1984), presents an overview of the North German church music of Buxtehude's lifetime, much of which remains unavailable in modern editions. It challenges widely-held beliefs about the nature and development of the repertory, and of the place held by Buxtehude within it. The picture that emerges is of a repertory that is far more beholden to Italian influence that has previously been appreciated, and one that is not dominated by any single figure. After discussion of the religious background and liturgical context in which the music was performed, Geoffrey Webber examines the manner in which Italian church music became known and performed in the region, and surveys composers from all the principal courts and cities in the extensive North German and Baltic area. He highlights the relationship between the social context in which individual composers worked and the nature of their output. After a detailed analysis of the repertory itself, the book concludes with an examination of issues relating to performance practice.
Introduction
Authors: Webber Geoffrey
Published: November 2023

Dieterich Buxtehude has stood pre-eminent in the study and performance of German music of the mid-Baroque period ever since the awakening of interest in his music in the mid-nineteenth century. The early figures in the Buxtehude revival, among them Johannes Brahms and Philipp Spitta, focused their attention principally on Buxtehude’s organ music, and it is still this part of Buxtehude’s œuvre that receives greatest attention today.
The Influence of Italian Music
Authors: Webber Geoffrey
Published: November 2023

While the importance of Italian music in the development of German music in general during the seventeenth century is widely recognized, its specific influence on late seventeenth-century German church music has received little direct attention. Modern scholars of German music have tended to focus their attention on the chorale; yet the large majority of sacred works composed by North German composers during Buxtehude’s lifetime had no connection with the chorale and were composed in direct imitation of Italian works. In this chapter I examine the background to the Italian features found in North German church music of the period, and explore the channels through which the Italian style was transmitted to the North German region.
Compositional Techniques
Authors: Webber Geoffrey
Published: November 2023

The compositional techniques that can be observed in the North German church music of Buxtehude’s era include both the new seventeenth-century Italian techniques that were adopted by German composers in all fields of composition, and older Italian techniques that were maintained specifically in the realm of church music.
Johannes Brahms Trio In A Minor For Pianoforte, Clarinet, And Violoncello, Op. I 14
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Like Beethoven’s Eighth Symphony, this work has suffered by comparison with a very much larger work which its composer brought out at the same time. The last thing contemporaries in any age will learn is that great artists are fond of varying the size of their successive works; and, fortunately, the last thing great artists will think of is to oblige the prejudices of those admirers who wish them always to work on the same scale. Brahms did not, perhaps, go so far as Beethoven, who, when he was told that his beloved ‘little’ Eighth Symphony had not pleased so well as his great Seventh, said, ‘That’s because it’s so much better.’
Adolf Busch Variations And Fugue For Small Orchestra On A Theme Of Mozart, Op. 19
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This is an earlier work than the set of variations on a Mozart theme by Dr Adolf Busch that was produced at a Reid Concert two years ago.1 The theme is the trio of a minuet [K. 568 No. 5] from one of Mozart’s sets of dances written for the public ballrooms of Vienna. Dr Busch gives it in Mozart’s original scoring-for strings without violas, and with a flute and bassoon taking turns to double each phrase of the melody, varying the repeats with displays of their flea-like agility.
Claude Debussy
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The later poetry of Mallarme represents an effort to make an abstract music out of the sounds of words; and it is the outcome of a jealousy that was growing in the minds of the poets of more than one language in the last days of the nineteenth century. Why should words be tied down to sense when music was free from any such external restrictions? Meanwhile, however, musicians were yielding to the pressure of popular curiosity and displaying an increasing tendency to make their music illustrative of an external story, poem, or picture. And so the two tendencies meet in the beautiful work in which Debussy, entering upon the second phase of his sensitive and severely limited art, ‘illustrates’ an early poem by Mallarme.
Joseph Haydn
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This Quartet is known as the ‘Emperor’ Quartet, obviously because of its slow movement. It has other claims to greatness, being the third of the wonderful half-dozen in Haydn’s Opus 76, of which we heard the fifth at a previous Sun day Concert recently.1 The remarks on Haydn’s freedom of form which I made on that occasion apply no less to the present example, though the first movement is in as normal a sonata form as Haydn allows himself to write in these late works. Its grand high spirits are in perfect keeping with the piety of the slow movement, in which one of the world’s greatest melodies is played unadorned by each instrument in turn, while the others surround it with expressive harmonies and counterpoints, until in a final variation it rises to mysterious heights and dies away in a solemn descent to earth.
Victor Rely-Hutchinson Variations, Intermezzo, Scherzo, And Finale For Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

This work was published in 192 7 in the Carnegie Collection of British Music. My acquaintance with the composer began when he was some IO years of age and already a voluminous writer. He worked at counterpoint with me for some years, and afterwards became a pupil of Holst. As far as any external influence can be traced in this set of variations, there is a suggestion of Holst’s fondness for rhythms of seven beats; and the melodic vein may be regarded as Hely Hutchinsonian, Holstian, or English, according to the listener’s disposition to worry about antecedents.
Joseph Joachim Elegiac Overture In Memory Of Heinrich Von Kleist, Op. 13
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Many features in the form and emotional scheme of this work, which was com posed about 1855, show how powerful was the influence of Joachim upon Brahms. In particular the pathetically mysterious ‘development section’ and the tragic irony of its serene return to the ‘second subject’ foreshadow the corresponding parts of Brahms’s great Tragic Overture, written many years later. It is impossible in a small space to do justice to the freedom of form and orchestration and the subtlety of thought of such a work as this.
Frederick Septimus Kelly Serenade For Flute And Small Orchestra, Op. 7
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Commander F. S. Kelly, DSC, RNVR, left but a small collection of compositions to represent him as a musician.1 Those who have known him, and watched the steady irresistible growth of his mastery of life, will always be convinced that music, which was his central means of expression, was an art in which he was sure to achieve something unique and complete. The two works produced on this occasion can do no more than indicate the beginnings of what was, in process of expression, restrained only because it was all comprehending. With him there was a time for everything. His duty towards music did not distract him from his duty towards life, nor did life distract him from music.
Édouard Lalo Violoncello Concerto Ind Minor
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

There are very few violoncello concertos; and of those that exist the listener and the player will prefer the ones in which the violoncello can be heard. The violoncello is a sonorous instrument with twice the compass of the violin, whose top notes it can reach with as little effort as if it had no low notes to climb from. It has also a wide range of effects, many of which are ingenious; but the temptations of the ingenuity are towards the gruntulous and the grotesque, and the solo violoncello may easily be driven to develop these qualities in the effort to assert itself against an orchestra which is always normally above it in pitch.
Gustav Mahler Orchestral Song Cycle, Kindertotenlieder
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

The genius of Mahler is at its best in these settings of Riickert’s pathetic poems with their delicate untranslatable simplicity. Mahler was in the first place one of the greatest conductors that ever lived. As a composer he showed, from an early age, an immense facility which, up to his death in 1911, tended to outrun discretion. His master, Bruckner, was the symphonic writer of the Wagnerians, and was probably the least facile artist that ever achieved anything.
William Beatton Moonie
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

If instrumental music is to explain any part or aspect of its contents by some extraneous matter, it can have no more inspiring and congenial such matter than a painting by a master devoted to the pursuit of pure beauty. The art of painting itself, far more extensively and more often than music, draws inspiration from extraneous sources; indeed, the tendency to restrict it to ‘absolute’ painting is among the most modern of innovations, being even more modern than the tendency, now quite academic in its respectability, to neglect ‘absolute’ music and to insist on regarding all music as illustration of something else.
John Powell Rhapsodie Negre For Pianoforte And Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Mr Powell was born at Richmond, Virginia, on 5 September 1882. He studied the pianoforte under Leschetizky, and composition under Navratil, in Vienna. He has composed many large works-for the piano forte, for orchestra, and for combinations of chamber music. His forms originate from those of the sonata, with a tendency towards the continuity of the symphonic poem. His sense of movement is eminently and happily active in passages that lay down the chief motives of the music in an improvisatorial style, and he never fails to gather up his threads in a fine climax.
John Reid
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

It is time that General Reid’s marches should be restored to the condition in which he left them. In the first place, the one known as The Garb of Old Gaul, instead of being his only work, is No. 4 of a dozen. I do not say that the rest of the dozen are very markedly different from it; but we may as well recognize that he could, even in strict march rhythm, invent more than one tune. There was a time when I thought it might be advisable to return, when opportunity offered, to the custom of singing The Garb of Old Gaul as a chorus; but on looking it up I find that the poem, being adapted to recollections of the Napoleonic wars, refers to our present allies in terms no longer tactful.
Franz Schubert Overture In C Major, ‘In The Italian Style’, D. 591
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Schubert’s Overture in C major, ‘In the Italian Style’, is the larger of the two works which he wrote when seized by the Rossini fever which devastated Europe in the early nineteenth century. If, in a recent Reid Concert, Schubert’s D major Overture had been exchanged for that of Rossini’s Tancredi, I am not sure that I as a listener should have known the difference. Tancredi is far from the cheekiest of Rossini’s overtures; and Schubert lacks aplomb in his first effort to cock an Italian snook.
Robert Schümann
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Schumann’s Symphony in C major appears as his second, but was really his third, as the D minor Symphony which now appears as his fourth was withheld and reproduced later in an extensively revised version. The C major Symphony was the first important work produced by Schumann at Dresden, where he had moved from Leipzig in October 1844, after a breakdown in health. It represents a heroic attempt to recover lost energy, and is surrounded by important works in a wide range of new styles and forms, such as the opera Genoveva and the cantata Paradise and the Peri. In its orchestration it is the thickest and simplest of all his works. The orchestra is little more than a large and expensive swell-organ.
Guy Warrack Variations For Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

Guy Warrack, born in Edinburgh on 8 February I 900, has studied composition under the Oxonian guidance of Sir Hugh Allen and Dr Ernest Walker, and later, after considerable experience as a conductor during a tour in Germany, under Vaughan Williams and Holst, winning the Foli Prize for composition and the Tagore Medal awarded to the beststudentoftheyear. Since 192 5 he has been on the staff of the Royal College of Music, and has already to his credit a voluminous record of activities in the enterprises of music-making.
Carl Maria von Weber Invitation A La Danse
Authors: Tilmouth Michael , Kimbell David , Savage Roger
Published: November 2023

A detailed analysis of this delightful and diverting work is not necessary, but it is well to bear in mind that a work is not necessarily of a debased order because it is on extremely simple lines and contains a great deal that is obviously brilliant and gay, any more than a man is essentially frivolous because he shines in society. Some few points may be noted here, since they are not always realized. The delightful introduction with its unmistakable dialogue in high-flown old fashioned compliments between the lady and gentleman about to join in a waltz, is easily followed, both as music and as thoroughly artistic and healthy realism.