bluuebunny/crossref_metadata_2025 huggingface dataset:
Janáěek’s Works
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

LeosJanácek (1854--1928) is one of the few great opera composers of the twentieth century; his operas, orchestral, chamber, and vocal works are all part of the international repertory. This catalogue is by far the most comprehensive to appear in any language, with up-to-date and reliable information on all his works. Each entry provides detailed information on date of composition (and shows on what basis dating has been arrived at); source of text or programme; performing forces; duration; manuscripts and their locations; publication (a complete listing); performances and productions; dedication; literature. A special feature is the explanation of terms which may be unfamiliar to the western reader such as 'Glagolitic', 'Varyto', 'Lachian', and 'Indian Club Swinging'. This catalogue is also the first to include a complete, annotated list of the composer's varied and extensive writings.
Stage
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

By 18 June 1888 (date on štross’s VS, BmJA, A 23.522); orchestration: (Acts 1 and 2 only), ?1888. Thirty years later Jan ácek found the full score of š árka (letter to Gabriela Horv átov á, 14 Jan 1918; SR13) and invited his pupil Osvald Chlubna to orchestrate Act 3 (Chlubna 1958b; SR15). Chlubna did so that summer (2-25 Aug 1918, dates in score).
Choral-Orchestral
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

The MS of Naše píseň [ 1J was given a new title; Janácek crossed out the old title and text, added new ones, and made a few other minor adjustments. These changes were made before the material was recycled again in 1891, when it was adapted, with yet another text, as the final number in Poccitek romcinu. See Pocáitek romáinu 1/3; Naše pisen [2] IV/21.
Orchestral
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

Janaček’s fair copy of the piece in the album of works written mostly during his Prague studies (1874-5) is undated, but the pieces before and after it are dated. From this Straková inferred that it was composed probably between March and June 1875, and certainly after the death of Arnost Förchtgott-Tovačovsky on 18 Dec 1874 (Straková 1959, 174). The piece was later revised in pencil (possibly by Jánacek), in an attempt to remove some of the technical imperfections such as parallel fifths and the incorrect notation of the double bass part.
Keyboard
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

These exercises were tasks set as part of Janá ček’s studies at the Prague Organ School. They include cadences of various types and keys, exercises in modulation, chorale harmonizations, and contrapuntal exercises. From his analysis of Janáček’s surviving exercise books, Helfert (1939, 81) concluded that 34 of the many examples written into the books are Janacek’s own exercises.
Unfinished
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

The organ builder F.G. Steinmeyer of Oettingen in Bavaria had built the new organ for the Augustinian Monastery in Brno (1875-6; Helfert 1939, 179), and invited Janá ček, then choirmaster at the monastery, to visit their workshop in Bavaria. Janá ček went there in the summer of 1878 and composed the present fragment for organ during this time.
Lost
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

Helfert (1939, 317), attributing the information to his pupil Bohumír štědroiň, reported that ‘in the records of the Old Brno [Monastery] choir there is evidence of a Mass by Janácek at the time he was choirmaster’. Twenty years later štědroin in his own catalogue (DU, 47) was still unable to locate this Mass any more precisely than ‘1870s’, though it would seem more likely to have been written while Janácek was at his most productive in liturgical music and before his connections with the Beseda brněnská in 1876.
Spurious
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

The Nokturno is not mentioned in Janadek’s letters from Leipzig to Zdenka Schulzova. It is not clear where Helfert’s information in 1937 came from; he evidently soon had second thoughts, as it is not mentioned in his 1939 monograph, which examines the Leipzig works in detail. Two later lists (SV, 35 and DU, 49) have included the piece, though without producing any further evidence.
Writings
Authors: Simeone Nigel , Tyrrell John , Němcová Alena
Published: November 2023

A review of the performance of the Gregorian Mass In dominicis Quadragesimae in the Piarist church in Prague (24 Jan I 875) under the director of the Organ School Frantisek Skuhersk ý. Janacek criticizes several shortcomings in the performance of the chant and at the same time suggests improvements.
Musical Apprenticeship in Noble Households
Authors: Hulse Lynn
Published: November 2023

Shortly after Michaelmas 1603 Lady Anne Clifford, daughter of the third Earl of Cumberland, visited her aunt at North Hall in Hertfordshire where, according to her diary, she ‘learned to sing & play on the Bass Viol of Jack Jenkins my Aunt’s Boy’.1 The young musician attached to the household of the widowed Anne Dudley, Countess of Warwick may have been the violist and composer, John Jenkins.2 Apart from a legacy of £10 a year which Lady Warwick bequeathed to her servant in 1604, nothing is known about the conditions under which Jenkins was employed;3 however, by the beginning of the seventeenth century the terms of service pertaining to the employment of boy musicians in the households of the ruling elite were well established.
William Cobbold’s ‘New Fashions’: Some Notes Concerning the Reconstruction of the Missing Alto Part
Authors: Kramme Joel
Published: November 2023

In his edition of Consort Songs (MB 22) Philip Brett includes William Cobbold’s ‘New Fashions’ as the sixth and last example of Cries for Voices and Viols, incorporating it with ‘The Cries of London’ by Thomas Weelkes and Orlando Gibbons, ‘The Cry of London’ by an anonymous composer, and ‘The City Cries’ and ‘The Country Cries’ by Richard Dering.1 Despite the lack of any bona fide Elizabethan street vendors’ jingle, Brett highlights ‘New Fashions’ as ‘the most ambitious of these curious compositions that incorporate the shouts and songs of the London streets into the framework of the fantasy for viols’.2 With at least ten popular tunes superimposed upon a set of thirtyfour presentations of the ‘Browning’ theme, ‘New Fashions’ qualifies equally well as a quodlibet, set of variations on the ‘Browning’ tune, or ‘cry’. The notation of the various popular tunes and ballads and their sequential relationships is provided in Appendix A; the sequence of the ‘Browning’ variations and superimposition of the broadside tunes is illustrated in Appendix B, and a sequential composite of the literary text may be found in Appendix C.
The Eighth Symphony
Authors: Kennedy Michael
Published: November 2023

The Eighth Symphony is a throwback to the Mahler of Symphonies 2, 3 and 4 and a return to words as the carriers of his ideas. It is as if, after the secular, worldly confessions of Nos. 5, 6 and 7, he had returned to the search for redemption which had obsessed him in the 1890s. Alma is reported to have said, in a moment of exasperation, that ‘Gustav is always on the telephone to God’. In No. 8 he was on the hot line. I have already quoted his description of how ‘the Spiritus Creator took hold of me and shook me and drove me on’ when he went to Maiernigg in 1906. He composed the symphony between 21st June and 18th August, and he told Schoenberg it was ‘as if it had been dictated to me’ – again the sense of ‘being composed’. That it represents a profound spiritual experience cannot be gainsaid. Mahler even went so far as to say to Specht that he regarded it as ‘a gift to the whole nation’.
The Music 1841-1849
Authors: Macdonald Hugh
Published: November 2023

In the years 1841 to 1846 the disorder of Berlioz’s home life and his frequent absences from Paris are immediately reflected in the frag­ mentation of his work as a composer. It is painful to reflect on the larger works that might have been written at this time if he had found stability and tranquillity; the preceding years had demonstrated that his invention had never been more fertile or his technique more assured; the range of styles and subjects open to him was vast, his response as full-blooded as ever. But until La damnation de Faust emerged miraculously from his itinerant workshop in 1846, his genius is only fitfully active. Any period which produced such moving and diverse works as the Hymne à la France, the Corsaire overture, and the Hamlet march cannot be considered fallow, but the slackening in pace and the uncertainty of direction are none the less evident. Two symptoms of this slackening may be identified: one is his repeated turning to his own and others’ works to make arrangements from them; the other is his inability to find an opera subject or libretto which suited him.
The Romantic foreground
Authors: MacDonald Malcolm
Published: November 2023

Popular music-history names the century into which Brahms was born ‘the Romantic era’. The label identifies a period that asserted instinctive drives of feeling and imagination, of individual and collective identity, long pent up by the cosmopolitan rationalism of the eighteenth-century Enlightenment. We trace it from late Beethoven and Schubert to late Mahler, and situate it between the age of Viennese Classicism, and the ‘modern’ period initiated by Schoenberg, Stravinsky, Bart6k and others. Romanticism’s musical manifestations include the ‘magical’ operas of Weber and Marschner, the virtuoso instrumental writing of Paganini, Liszt and Alkan, the hybrid dramatic forms of Berlioz, Liszt’s symphonic poems, the music dramas of Wagner,
Fully armed like Minerva: the music to 1860
Authors: MacDonald Malcolm
Published: November 2023

Brahms’s famous capacity for self-criticism appears to have been a native trait, active from his earliest years. There are plenty of indications that he was a prolific composer throughout his early and middle teens - we hear of a piano sonata written at the age of eleven; pieces for the choral society in Winsen; songs, even song cycles; early attempts at chamber music; and, among the better-documented items, a Piano Fantasia ‘on a Favourite Waltz’ which he performed at his second public recital in Hamburg in 1849. All of these seem to have been destroyed, and the earliest work which he allowed to be published under his own name is the E flat minor Scherzo of late 1851.
The sense of the past
Authors: MacDonald Malcolm
Published: November 2023

Brahms’s lifelong fascination with what we now call early music, going back as far as the Renaissance period in Germany and Italy, and to composers such as Isaac and Palestrina, is well known. But to most of his contemporaries it seemed an eccentric enthusiasm, and his first biographers were ill-equipped to understand its significance. During his lifetime, although the works of Bach and Handel were gradually gaining appreciation, the value of music earlier than the Classical period was hardly generally accepted; the majority of critics and music-lovers would have considered it outmoded, ‘primitive’, uncouth, and above all boring, and would have questioned whether it was worth performing at all. Only in recent years - with the enormous explosion of interest in the whole early music field that has taken place since the mid-twentieth century in performances, editions, musicological discussion and recordings - have Brahms’s attitudes begun to seem important, even prophetic and pioneering.
Music and Menschenbild
Authors: MacDonald Malcolm
Published: November 2023

In his own estimation, Brahms was a self-taught composer. Despite his prodigious natural talent, honed by Marxsen’s intensive training in certain aspects of technique,1 the young Brahms felt painfully deprived of a general musical culture. Many years later he commented to Richard Heuberger that Schumann, Wagner, and he himself had all been forced to find their own (quite separate) paths to mastery because they lacked the kind of strict education in a living tradition that Mendelssohn, say, had acquired from Zelter in Berlin, or his French contemporaries at the Paris Conservatoire under the powerful aegis of Cherubini. The voracious studies of older music and pre-Classical technique which Brahms undertook in the 1850s, although they established the predilections of a lifetime, began as a desperate course of self-improvement.
Piano and organ works
Authors: Radcliffe Philip
Published: November 2023

Although Mendelssohn’s piano music contains individual works that are very familiar, it is more varied in scale and mood than is often imagined. The Sonata in G minor, op. 105, is amongst the earliest of all his published works. It was finished in 1821, by which time Mendelssohn was already a prolific composer, and it is thoroughly fluent and sure of itself. In the first movement there are touches of chromatic colour reminiscent of Mozart, but the influence of Haydn is more pronounced, especially in the use of the same material for both first and second subjects. The ideas are not particularly distinguished, but they are handled with considerable resourcefulness.
Chamber music
Authors: Radcliffe Philip
Published: November 2023

Mendelssohn’s early experiments with chamber music during the years 1820-2 included a Violin Sonata in F major, a Trio for violin, viola and piano in C minor, and a Piano Quartet in D minor. For his first published work in 1823 he chose another Piano Quartet, in C minor, which dates from the autumn of 1822. Compared with the still earlier Piano Sonata in G minor, it shows less of the influence of Haydn and more of that of Mozart and Weber. The opening of the first movement suggests Mozart’s Piano Sonata in the same key, and there is a strong flavour of Weber in the gaily operatic second subject. The reference to the opening phrase towards the end of the exposition is a procedure very characteristic of Mendelssohn.
Twilight
Authors: Samson Jim
Published: November 2023

Biography is a presumption. To describe and interpret our own feelings is hard enough. To analyse the feelings of others-and to do so when our victim is long dead-is foolhardy, even when irresistible. The retrospective fallacy rides high in all this. And speculation should be recognized for what it is. Widely different interpretations of George Sand’s attitude to Chopin in 1845-6 have been confidently proposed, and all based on the same sources. Was she in effect trying to extricate herself from the relationship at all costs? Or was she still committed to Chopin, for all her growing reservations about their life together? It is distinctly possible that the feeling between them was irreparably soured in the early months of 1845, but there was little outward sign of it when they set off for Nohant as usual in June. Quite the reverse.
‘Simplicity itself’
Authors: Samson Jim
Published: November 2023

Chopin described simplicity as the ‘highest goal’, achievable ‘when you have overcome all difficulties’.1 A hard-won ‘Periclean simplicity’, marked by a severe exclusion of the extraneous and the merely ornamental, is indeed a feature of much of the music of his final years. Here Chopin reached a new plateau of creative achievement, almost as though the agony of composition, the resistance it set up, wrested from him only music of an exceptional, transcendent quality. Even in song, where Chopin seldom gave of his best, he mustered a refinement of technique and a depth of feeling which transcended the limitations of the salon romance. At least two of the late songs would not have disgraced the finest of the Lieder composers, evidence again that he was less and less capable of producing hack work in these final years.
Choral works
Authors: Watson Derek
Published: November 2023

Part-songs for male voices were popular in mid-nineteenth century Germany and contributions to this aspect of Romanticism were made by Schubert, Schumann, Mendelssohn, Bruckner and Cornelius. From 1839 until the mid-1850s Liszt composed over thirty male voice choruses, either unaccompanied or with piano.
The Bonn Years
Authors: Kinderman William
Published: November 2023

In retrospect, there is something fitting and almost inevitable about Beethoven’s passage from Bonn to Vienna in 1792. The elector, or Kuifurst, at Bonn from 1784 was Maximilian Franz, the youngest son of Empress Maria Theresia of Austria, brother of Marie-Antoinette in Paris and the Emperor Joseph II in Vienna. Max Franz’s assumption of the post was the product of intrigues and negotiations, part of an effort to extend the influence of the Habsburg monarchy into the Rhineland while limiting Prussian influence. As a result of this circumstance, the most intimate connections linked the small city on the Rhine with the distant capital on the Danube, ten times its size.
‘The Heroic style I, 1803–1806
Authors: Kinderman William
Published: November 2023

Eighteen hundred and three was the main year of composition of the Eroica Symphony, the centrepiece of the great stylistic transition that emerged out of Beethoven’s personal and artistic crisis of 1802, a crisis precipitated above all by his incurable loss of hearing. In the Third Symphony Beethoven’s ‘new path’ ascended to a lofty summit with a commanding position in the history of the symphonic genre. The historical and biographical terrain surrounding the Eroica has not yet been exhaustively explored, despite the fame and irresistible fascination of Beethoven’s intended dedication of the work to Napoleon Bonaparte and his angry destruction of that dedication after Napoleon had himself crowned emperor. It is a commonplace of criticism that the Eroica inaugurates or consolidates Beethoven’s ‘heroic’ style.
Triumph 1822–1824
Authors: Kinderman William
Published: November 2023

This is an entry made by Beethoven in a conversation book at the beginning of February 1820: ‘The moral law within us, and the starry heavens above us’. Beethoven’s citation, with its enthusiastic attribution, has been often re-cited and commented on. The conversation-book entry takes on new significance, however, when considered in relation to the genesis of the composition that was occupying-or, rather, consuming-him at the time: the Missa solemnis.
The Last Phase 1826–1827
Authors: Kinderman William
Published: November 2023

With the completion of the quartet in November 1825 Beethoven at last fu1filled Galitzin’s commission. As so often, his artistic response followed his own laws, quite apart from Galitzin’s request for three quartets.
Two Natures
Authors: McKay Elizabeth Norman
Published: November 2023

Descriptions of Schubert’s nature written after his death by two of his friends from the Stadtkonvikt days provide a starting-point for an attempt to understand the character and personality of the composer. Josef von Spaun, his first benefactor, was one of Schubert’s most reliable, kindly, and generous friends, both throughout his life and long after he died in November 1828. His loyalty to, and affection for, Schubert led him in the spring of 1829 to write in an obituary of his friend: ‘He was uncommonly frank, sincere, incapable of malice, friendly, grateful, modest, sociable, communicative in joy but keeping his sorrows to himself ... free from all bitterness ... his attachment to his home, to his friends and to his native city was so great .. .’ .1
Friends, Publishers, The Gesellschaft Der Musikfreunde (1825-1826, Part II)
Authors: McKay Elizabeth Norman
Published: November 2023

As soon as Schubert arrived back in Vienna, he took up residence again in the Fruhwirthaus. He now began a series of long and convivial evenings socializing with his friends. Bauernfeld’s entry in his diary for early October sums it all up: Schubert is back. Inn and coffee-house gatherings with friends, often until two or three in the morning. Schober is the worst in all this. True, he has nothing to do, and actually does nothing, for which he is often reproached by Moritz.1 From this time onwards, Bauernfeld was rather frequently in Schubert’s company. The close friendship had begun in the previous February and had been interrupted after only three months by the composer’s tour with Vogl. For some weeks that summer, of the inner circle of Schubert’s friends only Bauernfeld and Schwind were left in Vienna. Both kept in contact with Schubert while he was away by letter. Bauernfeld was studying hard for his final law examinations during this period, and in August was delighted to learn that he had passed with flying colours.2
Success and Sickness (1828)
Authors: McKay Elizabeth Norman
Published: November 2023

IF Schubert’s health was causing concern during 1828, there are no recorded references to illness or indisposition until he moved to his brother’s new apartment early in September. To what extent his family and friends were aware of his sickness before this must remain conjectural. To all intents and purposes, and apart from the persistent headaches and later giddiness, which a few of his friends do seem to have known about, he appeared to be reasonably fit and leading a normal life. Further retrospective comments, however, suggest that he was to some degree neglecting himself, spending a lot of time on his own (apparently distancing himself from old friends), sometimes negligent or unreliable (or both) in relationships, drinking heavily, and perhaps indulging in unsavoury sexual activities. Outstanding and influential events of the year included his benefit concert of his own music on 26 March and the betrothal and marriage of Josef von Spaun. If Schubert was spending less time with the usual old friends of the Spaun and Schober circle, he was obviously with musician colleagues and friends more than ever before.
The Final Illness
Authors: McKay Elizabeth Norman
Published: November 2023

UP to the age of 25 Schubert, by all accounts, enjoyed better than average health. The situation changed radically at the end of 1822 when he contracted venereal disease. Thereafter, such positive descriptions of him as ‘enjoying sound health’,’ ‘so healthy and vigorous’,2 ‘robust physique’,3 appear only in contrast to accounts of his bouts of illness. During the last six years of his life, with the possible exception of a year or so from 1825, he suffered some ill health, and latterly he was to varying degrees a sick man. Although the disease was never named as such by his contemporaries in their memoirs and reports on his life, their allusions to it and the symptoms point indubitably to syphilis. There was no complete cure for syphilis, and the best he could hope for was that the illness, after its secondary stage, would remain latent. If this were the case then, despite the long-term sentence, he could for a while lead an almost normal life; and he could compose music. Although at the start of 1823 he followed his doctor’s advice carefully, Schubert was unfortunate indeed when later that year he succumbed to a recurrence of symptoms.
Renaissance Music
Authors: Caldwell John
Published: November 2023

The period covered by this chapter is from about 1450 to 1600; but the principles already put forward are still largely applicable, especially to the earlier part of the period, while the recom mendations of the present chapter are, insqme respects, applicable to music in Renaissance style written after 1600.

The topics will be discussed in the same order in this chapter as in the previous one, in so far as they remain relevant. The special problems of keyboard and lute music will be dealt with at the end. Owing to its closer approach to the modem system, the notation of Renaissance music in general calls for less elaborate editorial procedures than does that of the Middle Ages. To a large extent they amount to a simplification. The discussions that follow are self-sufficient as far as possible; but a reading of the previous chapter will reveal in some cases the principles on which the recommendations of this one are based.
The Grand chant of the Trouvères: An Introduction
Authors: O’neill Mary
Published: November 2023

C. S. Lewis described the so-called ‘courtly love’ phenomenon in medieval France as a ‘revolution’ compared to which ‘the Renaissance is a mere ripple on the surface of literature’. It is true that nearly one thousand years later it still permeates the imagination and culture of Western Europe. Through the centuries it has inspired an incredible amount of artistic endeavour, expressing itself not just in the narratives, love poetry, art, and music of the late Middle Ages, but its tentacles reaching as far as the opera houses of the late nineteenth century and even to our cinema screens in the twentieth and twenty-ﬁrst centuries. What ‘it’ is remains difﬁcult to pin down, but therein lies, in part, the secret of its allure.
Keyboard Duets
Authors: Ferguson Howard
Published: November 2023

Piano duets, whether on one piano or two, are great fun to play. Their technical demands range from the very simple to the extremely difficult; every pianist, whether amateur or professional, will always find in the vast repertoire something to suit his or her capabilities. Keyboard Duets describes the chronology of the piano duet and music for two pianos, from their earliest beginnings to the present day, investigates various technical problems, and also provides a selective list of original duets with genuine musical or historical interest.
Tintinnabuli
Authors: Hillier Paul
Published: November 2023

In the previous chapter I elaborated how, after Credo, Part did not entirely stop composing, but that this was an activity that consisted primarily of a series of explorations: how to write a single line of melody or combine just a very few notes. At first he studied Gregorian chant and early polyphony—and the Third Symphony and Lau! Annastatule reveal his preoccupation with these styles, though at this point the result is largely mimetic. In further immersing himself in such music, Part sought not to imitate the mechanical devices of its composition, but rather to understand how and in what way these devices served the expressive function of the text. He had already ascertained that the triad itself (rather than simply ‘tonality’) was central to his purpose. To sustain the sounding triad, but be able to move within its all-embracing presence, required not only invention, but some form of reg·ulating discipline, otherwise the energy accumulated within such a powerful and traditional source of stability would quickly turn into rigidity. Part has always demonstrated a need for the constraints of structure, not through lack of invention but from the threat of an excess of it.
The Early Tintinnabuli Works
Authors: Hillier Paul
Published: November 2023

The name ‘tintinnabuli’ was eventually adopted as the collective title for all seven of the 1976 works. A 1978 programme lists their concert order as: In the 1978 Tallinn Festival of Old and New Music they formed the first half of a concert the second half of which was a performance (using voices and instruments) of Dufay’s il1issa L ‘Homme Arme by Hortus Musicus. Although some of these pieces have subsequently been modified in various ways, they have all survived the composer’s later scrutiny and been recorded in one context or another.
Ine Legend: Fact and Fiction
Authors: Allsop Peter
Published: November 2023

If society tends to create its heroes in its own image, in the case of Arcangelo Corelli this process has been facilitated by the singular lack of reliable documentation concerning even the most basic details of his life, long tracts of which still remain a rnystery. From. his baptismal certificate until I 675 in Rome not a single shred of conten1pornry evidence survives, and while the household account books of Cardinal Pietro Ottoboni provide a chronology of his activ ities from 1690 until r706, the lists of musical expenditure are regrettably missing for the remainder of his life. But the ingenious inventions with which successive generations have sought to clothe the remaining skeletal framework reveal a scenario as fanciful as any opera libretto.
The Free Sonatas a 3 (2)
Authors: Allsop Peter
Published: November 2023

If there is some justification for Hawkins’s allegation that Corelli’s Op. 1 shows signs of imma turity, it is generally agreed that the sonatas of Op. 3 represent the pinnacle of his achieve ment in the a 3 medium. After its publication in Rome in 1689, it was immediately reprinted in Bologna, where the Affair of the Fifths seemed not to have deterred either music publish ers or public, and by 1691 it had also appeared in Modena, Venice, and Antwerp. The new collection did displace the earlier one in popularity for a time, for in 1688 Op. 1 had enjoyed new editions in Rome, Bologna, and Antwerp, but nine years elapsed before its next publi cation. With its dedication to the Duke of Modena and implication of the honouring of Corelli’s debt to the duke for favours received, there is no more reason to believe that this publication was intended specifically for church use any more than Op.
The Sonate da camera a 3
Authors: Allsop Peter
Published: November 2023

Of all the genres cultivated by Corelli none would perhaps seem more straightforward than the sonate da camera a 3 contained in the two collections of 1685 and 1694. After all, even among the sources dating from Corelli’s lifetime we have the advantage of a clear and con cise definition, provided as ever in a characteristic over-generalization by Sebastien de Brossard in his Dictionaire de musique.
The ‘Solo’ Sonatas
Authors: Allsop Peter
Published: November 2023

Despite the ever-growing list of apocryphal sonatas, the only lasting testament to Corelli’s achievements as a violinist are the Sonate a violino e violone o cimbalo, Op. 5, engraved in Rome by Gasparo Pietra Santa in 1700. Long after the vogue for the trio sonata had declined in Italy, his reputation survived there due to the phenomenal success of these twelve sonatas, upon which, as Burney informs us, ‘all good schools for the violin have since been founded’.1 Without exaggeration this set may claim to have been the most commercially successful volume of music ever to have been published, with over fifty reprints by I 800, yet despite its ‘profound influence on the history of violin music and violin playing’, Boyden paradoxically concedes that ‘in the history of violin technique Corelli’s works cannot claim to be land marks’,2 while Pincherle asserts that they appear ‘inferior to the Germans, and indeed to the Italians in matters of pure technique.
The Concerti Grossi
Authors: Allsop Peter
Published: November 2023

Among the perennial pitfalls of any study of seventeenth-century music is the imposition of post hoc meanings-often immediately post-Corellian-on terms which were originally broader in application. ‘Concerto’ has come to be associated with a particular type of com position in which there is a clear stylistic contrast between a virtuoso soloist and an orchestral tutti, as in many solo concertos of the eighteenth century. The association of the term with opposition and rivalry is supported by firm historical evidence dating from the late sixteenth century, for Ercole Bottrigari in his fl desiderio (1594) specifically defines ‘concerto’ as ‘con tention or contrast’.
Introduction: Music and Meaning in the CoD1D1ercials
Authors: Cook Nicholas
Published: November 2023

What does music mean, if anything? The question is one of the hardy perennials of musical aesthetics, and there is no shortage of answers to it. Indeed, there is a plethora of seemingly unrelated answers. We can talk about music’s internal structure, about its symmetries and directional motions, about patterns of implication and their realization or lack of realization; moving from ‘the music itself to listeners’ responses, approaches like this offer a psychological approach to meaning (and the work of Leonard Meyer and Eugene Narmour provide the best-known examples). Or we can approach the music from the opposite direction, talking about the context of its creation, the context of its performance, and the context of its reception; here the assumption is that music acquires meaning through its mediation of society. Or again, we can oscillate between these two viewpoints, on the assumption that meaning arises from the mutual mediation of music and society. That is the central assumption of musical hermeneutics, whether we are applying this term to the work of Hermann Kretzschmar in the 1890s or Lawrence Kramer in the 1990s.
Models of Multimedia
Authors: Cook Nicholas
Published: November 2023

In This Chapter I put forward three basic models of multimedia. The intention is to provide an inventory of the ways in which different media can relate to one another, together with an associated terminology for describing them, and I shall outline the three basic models with reference to some of the examples of multimedia encountered so far in this book. But the models and the vocabulary associated with them also provide a framework for reviewing the theoretical content of existing writings on multimedia-in which I include traditional interpretations of song and opera, as well as accounts of relatively marginalized or more recent multimedia genres such as film and music video. The chapter is essentially organized in two passes, then, with the first section functioning as a kind of exposition, and the remainder developing the three basic models in counterpoint with the existing literature. There is no recapitulation.
Dragonetti as a Performer
Authors: Palmer Fiona M
Published: November 2023

Virtuosi may be compared to comets; they are not stationed like com posers in the centre of a circle of which they are the life and soul; they are not governed by common laws; their course is wild and eccentric, they excite a momentary astonishment, and they sweep away into vast dis tances, from which their return is not to be calculated.

DRAGONETTI remams supreme, and uses his instrument as Jupiter his bolts-now hurling the thunder, and now glancing the innocuous light nings of heaven-for thus only can we describe the alternate succession of his powerful and delicate execution.
The Philharmonic Society
Authors: Palmer Fiona M
Published: November 2023

Musicians worked in a cutthroat market-place, open to anyone and unprotected by trade unions, professional associations, watertight contracts, experienced and reliable agents, or generally accepted codes of con duct.

It is difficult, in these days of musical plenty, when there is a superfluity of orchestral organisations, and a still greater number of good players in want of orchestral positions, to realise that in the year 1813 there was no per manent orchestral society in London open to the public, nor was there any society for the performance of Chamber-music; there was no band fit to play really orchestral works, by which is meant those Symphonies, Overtures etc.
Joining a Band1
Authors: Bayton Mavis
Published: November 2023

Typically, a male band starts when a group of friends (usually at the same school, of the same age, and living in the same locality) gradually evolves into a rock group.2 My research suggests that in the past this has not been true of female bands, none of the bands I researched in the 1980s emerging in this way. Amongst the 1995 sample, a handful did but there were often important mediating factors. Two female school student bands developed in the early 1990s in the unlikely setting of an Oxfordshire village, Eynsham, where a single male youth worker played a pivotal role in encouraging girls to set up bands. He paid for and arranged tuition for them from Oxford band members, provided free rehearsal space and access to equipment, and set up prestigious gigs for them in Oxford. Insofar as there has been a change during the 1990s I think this can be related to changing fashions. Since more female school students see playing in a band as ‘cool’ there is a slightly larger pool offemale musicians. However, because bands arise from friendship groups, the tendency among teenagers is to have boy bands and girl bands rather than mixed ones, and this is borne out by my research. Kathryn (Frantic Spiders): ‘It was just doing it with our friends, who were girls.
Going Publie
Authors: Bayton Mavis
Published: November 2023

As the first gig marks the band’s ‘coming out’, band members will be seen and judged as musicians, whether they apply that label to themselves or not, which makes it a crucial learning experience in which factual information, norms, values, attitudes, and expectations will be absorbed. There will be more than one ‘audience’ at this first gig. Strangers, lovers, friends, relatives, the promoter, the sound crew, and local musicians form discrete audiences, about whom the band may feel very differently. The first gig, therefore, is chosen with care. If it is perceived as a disaster it could be the last. There is often a fear of other musicians being in the audience since novices may not wish to be ‘judged’ by their ‘peers’ at this stage. However, when a new band launches itself onto the local scene, members of other bands are usually present out of curiosity, particularly if it is a women’s band. Feminist bands have often chosen to emerge at an all-women gig, where they will not be exposed to male scrutiny and criticism.
Going Professional
Authors: Bayton Mavis
Published: November 2023

‘Going professional’ is commonly held to mean making a living from music, giving up other, non-musical, careers or jobs in order to devote oneself solely to performing. Becoming a professional involves making a substantial commitment to music and it typically necessitates making considerable sacrifices in other areas of life. The most immediate one is often financial. For Shareen (ofMs45), it was law school. A woman may leave a secure non-musical career in the certain knowledge that it would be difficult, or impossible, to return should her musical venture fail. Judy Parsons (of the Belle Stars) relinquished a ‘marvellous career’ in civil engineering. ‘I decided that that’s what I wanted to do with my life ... So I’ve lost lots of money by being in a band ... I think it’s wrong if you think, “I want to be a millionaire. I’ll play in a rock band”. It’s not the same. You think, “I don’t care if I’m starving. I’m gonna play in a rock and roll band”.’ Making a living from music is quite an achievement, for it is the unrealized goal of innu¬ merable local bands. Judy was lucky in that her job had given her the means to purchase high-quality musical equipment. The irony here is that it is often only by having a well-paid non-musical career that a woman can get the necessary equipment in order to launch herself.
Conclusion
Authors: Bayton Mavis
Published: November 2023

THIS book began by examining the positioning of women within the world of popular music: consuming, decorative, and supportive roles. Whilst there is a clear role for women as vocalists in bands, there is a marked absence of women playing instruments. Although there has been an increase in the numbers of female instrumentalists since the watershed of punk, they are still hugely outnumbered by men. The first important question I addressed, then, was how can one explain the lack of female players. Biological explanations do not persuade because, as women are as capable of making music as men, all are potential musicians. This positioning of women in popular music can be explained only by social factors which I conceptualized as ‘constraints’ facing the potential female musician. They can be divided into ‘material’ and ‘ideological’. However, this dichotomy is merely an analytical distinction and the dimensions are inevitably interrelated.
Dresden 1719–1732: Catholic Music and Liturgy
Authors: Stockigt Janice B
Published: November 2023

The Saxon Jesuits described 2 September 1719, the date of the entry of the newly-wed Electoral Prince and Princess into Dresden, as ‘an absolutely golden day for us Catholics here, indeed for the whole world’.1 The relatively discreet Jesuit mission to Saxony, with its small, devout, but mainly ‘plebeian’ congregation, was suddenly overwhelmed by the influence and presence not only of the new Habsburg Electoral Princess and her court, but also of the predominantly Catholic court of the Electoral Prince.2 From that year the ceremonial splendour of the court church increased.
B
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Babcock, Alpheus (b Dorchester, MA, 11 Sept. 1785—d Boston, 3 Apr. 1842). One of the most distinguished American piano makers of the early 19th century, Babcock was active in both Boston and Philadelphia. In 1810, at the beginning of his career, Alpheus and his brother Lewis (b [Dorchester], 13 Feb. 1779-dMilton, MA, 14 Jan. 1814), were partners at 49½ Newbury Street in Boston. (Kuronen/ Early) About 1812 they took the organ builder Thomas Appleton (1785—1872) into the firm, now called Babcock, Appleton&Babcock, at 18 Winter Street.
E
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Earl,J. P., & Co. (fl. 1855—57). London manufacturer of pianos at High Street, Clapham. (Parkinson/VICT, 88)

EARLEY, John H. Piano maker in Philadelphia; he worked during the period 1820—1840 but was not a member of the Society of Journeymen Cabinetmakers. However, John Earley, who was listed as a cabinet maker, was a member of the Society. They may be identical or merely related. (Catalano/Cabinet, 164)
G
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Gabler, Emil (b Glogau, Silesia, ?—d New York, after 1883;fl. before 1858—after 1883?). New York piano maker. He was the partner of Thomas H. Chambers in the firm of Chambers & Gabler from 1863 until 1866 and also the partner of his brother Ernest from about 1883. (Grove/NY, 28 f., 56) Gabler, Ernest (b Glogau, Silesia, ?—d New York, 27 Feb. 1883;.fl. from 1851). Piano maker in New York. He arrived in New York in 1851 and opened his own business there about 1854; in 1858-59 became the partner of George Manner in the firm of Manner & Gabler. He worked independently after that year, but just before his death became the partner of his brother Emil in the firm Gabler&Brother.
T
Authors: Clinkscale Martha Novak , Watson John R
Published: November 2023

Talbot, Henry fl. 1838—42). Piano maker in London. Talbot’s address was 49 Castle Street East, Oxford Street. (Harding/PIANO, 423) His address was given as Oxford Market [sic] in 1840. (Rob 40) Talbot, W.R. (d 1884). Piano maker in Albany, NY, and later in Baltimore, MD. After 1853 Newman Brothers & Company took Talbot as a partner. (Spillane/HIST, 134 f.) Talbot was also a partner in the Albany firm of Hazelton, Talbot & Lyon in the 1840s.
Viennese Keyboard-Instrument Makers
Authors: Maunder Richard
Published: November 2023

In Vienna, instrument making, like other crafts, was dominated by the guild system until well after 1800. A knowledge of how the system worked is therefore essential for an understanding of makers’ working conditions, or a search for master-pupil relationships. Much information about the guilds is contained in the political and economic histories of Vienna by Seliger and Ucakar (Wien: Politische Geschichte, 1740–1934) and Chaloupek, Eigner, and Wagner (Wien: Wirtschafts-Geschichte, 1740–1938), from which the following summary is drawn.
Fortepianos
Authors: Maunder Richard
Published: November 2023

This chapter is again concerned almost exclusively with instruments made in Vienna. However, since there are many surviving Viennese fortepianos from the 1780s and 1790s, no attempt has been made to describe all of them here, and only a representative selection is included; others are listed in Appendix B under their makers’ names. As in Chapter 4, some of the measurements (which are all in millimetres) come from published data and should be regarded as approximate.
The Music and its Revisions
Authors: Cooper John Michael
Published: November 2023

Surprisingly little concentrated analysis has been devoted to the ‘Italian’ Symphony. Aside from the brief descriptive analyses presented in various Konzertführer, the only noteworthy nineteenth-century discussion was G. A. Macfarren’s review of the first edition of the arrangement for piano duet (1852). Mintz explored the piece in greater analytical detail in his discussion of Mendelssohn’s compositional process (albeit with MN 27 and MN 28 in reversed chronological order); and the insights provided in Konold’s1984 paper and 1987 monograph on the 1833 version were expanded upon in his 1992 study of the symphonies. To these we may now add thoughtful commentaries by R. Larry Todd and Thomas Grey in the context of surveys of Mendelssohn’s orchestral music.
An ‘Italian’ Symphony?
Authors: Cooper John Michael
Published: November 2023

Is the A major Symphony ‘Italian’? On the face of it, the answer would seem to be ‘no’. None of the music can be positively linked with any music Mendelssohn referred to in the surviving letters from his Italian sojourn. Aside from two letters which predate the surviving manuscripts by two years Mendelssohn never alluded to any of his symphonies as ‘Italian’. All of the extant autographs were demonstrably written in Berlin and Düsseldorf. The title-page of MN 27 refers to the work only as ‘Sinfonia üfr ganzes Orchester’.
The Binchois Game: Style and Tonal Coherence in Some Songs from the Mid-Fifteenth Century
Authors: Slavin Dennis
Published: November 2023

The night before the opening session of the Binchois Conference, David Fallows led a colloquium in which he handed out copies of a song with its ending omitted and challenged his audience to guess the pitch of the final. The piece was by Binchois, and the task proved difficult. Thus was born the Binchois Game, which was referred to several times at the conference because its difficulty seemed directly relevant to aspects of the composer’s style that have intrigued people interested in music of the fifteenth century. Correctly predicting the finals of chansons from this period can often be an uncertain game, but perhaps especially so for those by Binchois. If his works are indeed distinctive in this way, what are the implications for understanding his style and tonal procedures? The present chapter is a preliminary attempt to determine to what degree Binchois’s songs differ from those of his contemporaries from precisely this point of view—predicting the pitch of the final—and to draw together some ideas about broader implications.
The Use of Cut Signatures in Sacred Music by Binchois
Authors: Bent Margaret
Published: November 2023

At the Binchois conference, I suggested that some early uses of ϕ might be better accounted for not as signs of acceleration but, rather, in certain recurrent and specific contexts, as general-purpose signs with a range of possible significations, some of them only minimally prescriptive. The observation arose from examining a repertory plagued by one particular problem of reconciling available theoretical testimony with musical sense: the music by Binchois to sacred texts includes several categories where, according to received views of the meaning ofϕ, the same or similar music, or music of similar harmonic rhythm, is prescribed to be sung faster than passages in O.
Broadening the Canvas (1945-50)
Authors: Mccabe John
Published: November 2023

ROBIN HULL’s comment that the First Piano Concerto ‘brings out ... the justice of suggesting that this composer, though less spectacularly gifted than Britten, may yet stand in evident range of equality with him’ indicates just how high expectations were at the end of the war.Rawsthorne’s works began to receive wider international performance once again. Corteges was played at the ISCM Festival in London in 1946 and received its American premiere in 1948 at Carnegie Hall, with the National Orchestral Association conducted by Leon Barzin.