bluuebunny/crossref_metadata_2025 huggingface dataset:
Stubbie-Truth: Journalism, Media, Cultural Studies, and an Ethics of Reading
Authors: Hartley John , McKee Alan
Published: November 2023

Nothing here but a pleasant way to pass the time, and to learn some interesting facts about the Great State of Western Australia, home of the Swan Brewery and makers of Emu Bitter. The information was encountered in the everyday context of taking a beer out of the fridge; it was routine, non-political, and the opposite of provocative, since no commercial organization (apart from talkback radio) would knowingly put its customers offside in. the very act of appealing to them.
Back to Front: Alberto Cardfn’s Queer Habitus
Authors: Smith Paul Julian
Published: November 2023

Why is there no queer theory in Spain? The answer might be historical, institutional, or theoretical. Historically, the long Francoist separation of economic modernization from cultural modernity prevented the emergence of intellectual disciplines such as occurred in other countries.
‘In the Arte of Musicke and Skill of Danceing’ The Jacobean Court Orchestra
Authors: Holman Peter
Published: November 2023

Seven ‘Violins’ walked with their fellow court musicians in Elizabeth’s funeral procession on 28 April 1603. They were a striking testimony to the continuity of English court institutions. All but one was descended from a member of Henry VIII’s string consort. Four of the seven were the children and grandchildren of Ambrose Lupo: his sons Joseph and Peter and their sons, Thomas I and II. ‘Anthony Coomes’ (or Corney) was probably the grandson of John Maria of Cremona, while Caesar Galliardello was the son of Mark Anthony, who had come to England from Brescia in 1545.
‘Coperarios Musique’ The Households of Prince Henry and Prince Charles
Authors: Holman Peter
Published: November 2023

IN the winter of 1609-10 the 15-year-old Prince Henry Frederick, eldest son of James I, formed his own household. It was an important constitutional and social event, for there had been no adult male heir to the throne in residence at the English court for almost exactly a hundred years-since the prince’s namesake became Henry VIII in 1509. In three years, from 1609 until his untimely death in the autumn of 1612, Henry became the focus of a second English renaissance. He established important collections of books, paintings, bronzes, antique gems, and medals. He patronized new developments in many of the arts and sciences, including navigation, military fortification, architecture, engraving, stage design, and gardening.
‘His Majesties Musique of Violins’ The Caroline Court Orchestra
Authors: Holman Peter
Published: November 2023

The accession of Charles I to the throne on 27 March 1625 caused a crisis at court. The sizeable household that Charles had assembled while he was Prince of Wales was largely a duplicate of the one that he now inherited from his father. Indeed, a Venetian diplomat reported at the time that the subject of debate at court was ‘whether the household of the dead king or that of the prince shall be the household of the present king’. It was a situation that had not arisen in England for over a hundred years, since Henry VIII, the last adult Prince of Wales to inherit the throne, had succeeded Henry VII in 1509. Edward VI came to the throne as a child, without a proper household of his own; the personal households of Mary and Elizabeth were small, for they were princesses rather than princes; and though James I and his family came from Scotland with a large retinue of their countfYII!en, they left their less exalted servants behind, including the musicians.
‘The Fideldedies’ Charles II and the Twenty-four Violins
Authors: Holman Peter
Published: November 2023

ON Tuesday, 29 May 1660, Charles II entered London for the first time as monarch. Within a month the royal household, scattered since the outbreak of the Civil War in 1642, began to reassemble. The new Lord Chamberlain, Edward Montagu, Earl of Manchester, was appointed on 1 June, and the swearing-in of musicians began in earnest just over two weeks later, on Saturday 16 June. A record of the swearing-in ceremonies conducted that day and during the following week shows that the new royal music was based on the old: the individuals had either served Charles I, or were replacements for those who had done so.1 No attempt was made to take advantage of the Interregnum to reorganize the royal music, or to devise a logical and effective method of paying musicians. Musicians were still divided into those who received their money from the Treasury of the Chamber, and those who dealt directly with the Exchequer. Rates of pay, often fixed in the previous century, still bore little relation to the worth of the recipient, and were supplemented haphazardly by extra payments and plural appointments.
‘The French Fantastical Light Way’ Violins in the Chapel Royal
Authors: Holman Peter
Published: November 2023

The Chapel Royal, the royal choir, was the oldest and largest musical institution at court. Originally, it provided the king with choral services wherever he happened to be, but the Eltham Ordinances of 1526 restricted its travels, and after the Restoration its activities were concentrated almost entirely on the chapel in Whitehall Palace, at least during the working part of the year. The Chapel Royal was not, of course, just a musical organization. At its head were the Dean of the Chapel, often a bishop, and the sub-Dean, who was sometimes a prominent clergyman with musical interests-such as the composer and author William Holder, sub-Dean 1674-89. Among the non-musical officials were the royal chaplains, and the Serjeants, Yeomen, and Grooms of the Vestry. Nevertheless, the choir made up the bulk of the Chapel’s members: on paper there were twelve boys and twenty gentlemen during the Restoration period,
‘A Mighty Musique Entertainment at Court’ Reform and Retrenchment in the Royal Music, 1685-1690
Authors: Holman Peter
Published: November 2023

THE news of Charles II’s death on 6 February 1685 was received by his people with mixed feelings. He had endeared himself by his wit, intelligence, and charm; yet his fickleness, debauchery, and double-dealing had reduced Whitehall to ‘a dissolute annexe to Versailles’, in the words of David Ogg. John Evelyn expressed the thoughts of many when he wrote in his diary: The new king, Charles’s brother James, was no saint—he had had his share of amorous intrigue—but he was determined to bring order, economy, and decency to the British court, as his father had tried to do in 1625. He began with a thorough reform of the overgrown, ramshackle, and hidebound royal household, the first since the reign of Henry VIII.
Personal Style and the Individuality of Single Works
Authors: Whittall Mary
Published: November 2023

When we speak of individuality in music we are usually, without seeing any problem in it, thinking of a cast of individual character, which is understood as an expression of the composer’s individuality. Since, in a purely logical sense, everything that can be perceived as a closed, discrete whole presents an individual character, the specific element that characterizes the individuality of pieces of music is obviously its foundation in the composer’s personal style.
Issues in Sonata Form
Authors: Whittall Mary
Published: November 2023

One of the preconceptions that do more harm than good in musical analysis is the belief that it is a triumph of methodology if it can be shown that the entire motivic and thematic substance of a movement-and even the non-thematic components-derive from the same motivic ‘cell’, just one interval-succession.
Form as Idea
Authors: Whittall Mary
Published: November 2023

It looks at first glance as if Beethoven meant nothing more than the obvious: no one part can be omitted without destroying the integrity of the piece, and he may have thought it necessary to say it because the Septet, Op. 20, originates in the tradition of the divertimento, but surpasses its limits. But his chosen form of words is eye-catching, even if modified by irony, and makes one wonder if he did not also wish to convey that, even though the work is a septet, every instrument has something independent to express from time to time, almost as in a string quartet.
Church Music and the Religion of Art
Authors: Whittall Mary
Published: November 2023

We have no means of knowing whether Beethoven ever read E.T. A. Hoffmanri ’s essay ‘Alte und neue Kirchenmusik’ (Church music old and new), but, to judge by the respect he expressed towards Hoffmann in a letter dated 23 March 1820, it is not at all unlikely (he did read the Allgemeine musikalische Zeitung, in which it was published in 1814). At all events, we arrive at a better understanding of the Missa solemnis, if we suppose that Beethoven’s attitude towards the issues of church music was similar to Hoffmann’s unconsciously, in his musical decision-making, if not consciously, in his theoretical reflections. Recourse to Hoffmann’s essay can be justified in terms of the history of ideas, by the conclusions to which it leads in discussion of the Missa solemnis.
The Longer Trill
Authors: Badura-Skoda Paul , Clayton Alfred
Published: November 2023

As we have seen, there was a great deal of variety in the seventeenth century and at the beginning of the eighteenth century with regard to the execution of the trill. The French trill beginning on the auxiliary gradually gained the upper hand, especially in the second half of the eighteenth century. 1n the course of the nineteenth century this trill then went out of fashion. At no time, however, was one of the two forms entirely displaced by the other.
Pre-English Literary Influences
Authors: Schroeder David P
Published: November 2023

THE historical view of Haydn is that of a composer with a singularly musical mind, not tempted by distractions such as reading literature. Indeed, the opinion advanced by Giuseppe Carpani in his Le Haydine (1812), that Haydn was ‘an illustrious idiot’, seems to have stuck with unusual tenacity for over a century and a half. Rosemary Hughes among others echoes this in her widely distributed study in which she labels Haydn ‘the most unliterary of men’, possessing a library consisting ‘largely of technical treatises on music’. This view of Haydn was altered drastically in 1976 with the publication of Joseph Haydn und die Literatur seiner Zeit, a collection of essays edited by Herbert Zeman, treating subjects such as Haydn’s involvement in literary salons, the reception of English literature in Austria, and an itemized list of Haydn’s library of literary works.
The Lodge ‘Zur wahren Eintracht’
Authors: Schroeder David P
Published: November 2023

Among the eight Masonic lodges in Vienna before the end of 1785, one in particular stood out as a centre of enlightened activities. As such, this lodge, ‘Zur wahren Eintracht’, proved to be a natural gathering place for people who were in a position to influence the intellectual, moral, and social direction of the nation. Indeed, it included among its members the leading writers, scientists, and social reformers in Austria, and ulti¬mately Haydn as well. Speculation on the extent of Haydn’s interest in Freemasonry has been a matter of curiosity among Haydn scholars for at least a century, but it was not until 1985 that a publication appeared which addressed the issue seriously. Unlike Mozart, who was very active as a Freemason for at least a decade, Haydn’s tangible interest in Freemasonry appears on the surface to have been fairly slight. The primary documentation currently available is of very little help. In fact, it seems to cancel itself out as Haydn is seen on the one hand to be professing an interest, and on the other neglecting to attend any meetings after his initiation.
Early Plans: Mahler’s ‘Smphonie Humoreske’
Authors: Zychowicz James L
Published: November 2023

Among the earliest autograph materials for the Fourth Symphony is the plan of movements that Mahler made for a Fourth Symphony with the subtitle ‘Symphonie Humoreske’. Such a plan would serve as a point of departure when he actually began to work on the music. Mahler himself confirmed this as his initial conception of the work when he later admitted to Bauer-Lechner that he ‘only wanted to write a symphonic Humoresque [eine .rymphonische Humoreske]’.2 This early plan is for a six-movement work with programmatic titles for each movement, and this conception bears a subtle relationship to the completed Fourth Symphony. Mahler eventually abandoned this plan for the Fourth Symphony as a ‘Symphonie Humoreske’, but some of its elements were part of his early thoughts on this new composition.
Preliminary Sketches
Authors: Zychowicz James L
Published: November 2023

When Mahler began to compose a symphony, he started with single-page sketches, most likely based on ideas found in sketchbooks. In general these ‘preliminary sketches’, as they have become known, contain some of the principal ideas Mahler would take into the finished work. Preliminary sketches, by their nature, are less continuous than later ones, and they sometimes include Mahler’s earliest attempts at some self-contained passages. These sketches occur on single, full-size pages, often ripped bifolio sheets, which sets them apart from the work he undertook in sketchbooks. Yet the content of the preliminary sketches can vary from page to page, even within the materials for a single movement.
Draft Score
Authors: Zychowicz James L
Published: November 2023

For Mahler the draft score or Partiturentwuif was the first full score of a symphony with individual parts clearly specified. While he had made indications for instrumentation sporadically in the early drafts, he realized those ideas concretely and consistently only in the draft score, where he also resolved many of the issues related to the continuity of the music so that he could give the work its final shape. Most importantly, the draft score gave Mahler the opportunity to attend to the details of instrumentation, dynamics, tempos, articulations, phrase markings, and other elements that would bring the music closer to performance. While a close correspondence often exists between the draft score and short score, Mahler could still revise the structure of the work later, in the fair copy.
Introduction
Authors: Hurford Peter
Published: November 2023

THIS is a book about making music; and making it on an instrument which, in its long history, has successively been revered and reviled, ravaged and reformed. It is a book written by a player, for those who are curious as to the organ’s musical potential, whether players or listeners. It is not a musicological treatise, neither is it a primer, there are numerous books and articles which delve in depth into the instrument’s history, or which discuss organ design or interpretational matters, while various countries each have favourite books of exercises to help students in their search for technical proficiency. Rather is it meant for the encouragement and inspiration of those who are attracted by the pipe-organ, yet find it foll of problems which all too often seem to defy their attempts at music-making.
How the Organ Works
Authors: Hurford Peter
Published: November 2023

ANY performing musician should have a working knowledge of his instrument, so that at least he may be aware of the extent of its potential for music-making, as well as possessing, perhaps, sufficient technical knowledge to be able to cure minor ills prior to, or during, performance. The skill of an instrument maker he does not need; but an awareness of basic theory will give him a more sympathetic relationship with his instrument, and will contribute to that integrity of player-and-instrument that is so desirable in musical performance. This chapter provides an outline of such basic features of organ design and construction as may have some useful bearing on performance practice.
Some Thoughts on Interpretation
Authors: Hurford Peter
Published: November 2023

In seeking the ‘best’ interpretation, the performer is striving to re-create the spirit of the music as perhaps it was first conceived by the composer, and to project it to the listener in the most convincing manner of which he is capable. To this end, it is important for him to consider the techniques and spirit of the age in which the music was written. However, he would be unwise to try slavishly co emulate a manner of performance possibly employed by the composer, to the exclusion of his own educated musical instincts. For quite apart from questions of technique, instruments, or environment, it must be said that the creator’s view of his own work is not ultimately definitive, nor is he necessarily its ‘best’ performer; other musicians often find subtleties that the composer himself had not been conscious of generating. Sometimes, indeed, it can seem that the composer does not write as himself, but as a medium for the Zeitgeist of his time; the spirit of the age speaks through him, and his agony is one of comprehension and development.
Text and Form
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

GESUALDO was a composer who created principally to a text. It is therefore imperative to establish the textual basis of the madrigal, the principal object of his attention. A detailed survey of the madrigal’s textual development is, of course, beyond the scope of this study.1 Nevertheless, it is important to indicate something of the change in the relation of text to music which took place in Italian secular music after the beginning of the sixteenth century, before devoting our attention to the texts Gesualdo himself set and to their influence on the musical form of his madrigals.
The Madrigals: Books III &IV
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

THE third and fourth books of madrigals were largely written during Don Carlo’s relatively continuous sojourn in the city of Ferrara from 1594 to 1596, but partly also during his six-month return to Gesualdo in the second half of 1594. Book III appeared on 19 March 1595 (reprints: Venice, 1603, 16II, 1619), Book IV in 1596 (reprints: Venice, 16o4, 16II, 1616). The initial publications of 1595 and 1596 included an editorial preface by Hettore Gesualdo and appeared under the auspices of the ducal printer Vittorio Baldini. The later Venetian printings were all under the imprint of Gardano, and this long-standing association presumably stemmed from Gesualdo’s visit to that city as early as 1594.
The Origins of the Mensural System and Mensuration Signs
Authors: Berger Anna Maria Busse
Published: November 2023

There are many questions to raise about the evolution of these signs, questions so basic they have yet to be asked. Why, for instance, was there such a confusion with regard to mode signs, but not for tempus, prolatio, and sesquitertia signs? It would seem that three strokes to indicate perfect mode are less ambiguous than the circle as a sign of perfect time. And, more to the point, why did musicians use these particular signs to indicate mensurations in the first place? The use of the three strokes to show perfection does not require any explana tion, especially if the strokes correspond to rests. But the circle, semicircle, and inverted semicircle do. It is not enough to say that the circle is round and therefore perfect, or that the semicircle is half of the circle and therefore imperfect.
Queen’s Hall
Authors: Ehrlich Cyril
Published: November 2023

Francesco Berger began a second decade as secretary with undiminished energy. His extensive innovations in concert planning and management could not always satisfy everyone’s expectations, but they kept the Society afloat, without diminishing its status. Stability, if fragile, was most opportune, because the 1890s boom in London’s concert life lasted only a few years. A proliferation of orchestras and events competed for audiences which failed to materialize in sufficient numbers, and with enough regularity, to support music and musicians. Robert Newman’s Queen’s Hall Orchestra was founded in I 895; the London Symphony Orchestra in I 904, as a players’ co-operative in defiance of Henry Wood’s attempt to reform the deputy system; the New Symphony Orchestra followed; then the Beecham Symphony Orchestra, and so forth. Although these bands had access to an over flowing pool of players, none offered enough employment and security to command full-time commitment, and a chance to build ensemble and a particular style, as with the best European and American orchestras.
Theatritcal Life In The Time Of Storace
Authors: Girdharn Jane
Published: November 2023

The role of music in the London theatres towards the end of the eighteenth century has been woefully underplayed in modern theatrical histories, which focus on spoken drama and therefore consider English operas only on the merits or otherwise of their words. This neglect extends from operas themselves to the musicians who made them possible, making it hard for us to appreciate either the importance of music in the ,whole show, or the active musical life of the theatres.
Boyhood
Authors: Elliott Graham
Published: November 2023

Such was the well-ordered life of the boy Britten. He was born, auspiciously, on St Cecilia’s Day, 22 November 1913, the youngest child of a comfortably placed middle-class family. Britten’s father was a successful dentist and was able to support his wife and four children in a house where servants were kept and where the nursery was managed by a nanny. Benjamin Britten’s mother was an enthusiastic musical amateur who took an active part in local music-making and who held musical evenings at her home. Edith Britten is said to have had a pleasant soprano voice, and there can be no doubt that Britten’s earliest musical experiences were provided by his mother.
Two Churchmen
Authors: Elliott Graham
Published: November 2023

Donald Mitchell has written of the consistency of Britten’s themes and concerns and of the remarkable way they were sustained throughout his life (see Chapter 5). There is no doubt that one of the strong influences in his childhood and youth was the awareness of the Church and the religious observance encouraged by his mother. That the nature of his religious attitudes changed during the course of his life is not in doubt: that a strong spiritual dimension formed part of his thinking throughout his life would be entirely in sympathy with Donald Mitchell’s view of the composer.
Parable Music III: The Operas
Authors: Elliott Graham
Published: November 2023

No one would challenge the notion that all Britten’s operas have a message: in that sense they are all morality plays in the tradition of the Chester Miracle Plays from which he drew Canticle II ‘Abraham and Isaac’ and Noye’s Fludde, and from which he was to draw the libretto for the Christmas sequence on which he was working at the end of his life. But it would be wrong to suggest that the message is always Christian, except in so far as the Christian tradition does encompass many of the moral concerns which are manifest in the operas.
The Hamburg Collection
Authors: Clausen Hans Dieter
Published: November 2023

HANDEL’S works have come down to us more extensively and more comprehensively than those of any other composer of the time. This is the result not only of the great popularity of their creator, but also of the great pains that he bestowed on their preservation. This seems to have been one of the tasks which he entrusted to Johann Christoph Schmidt (anglicized hereafter as John Christopher Smith), the friend who had followed him from Germany to England. It is surely unique for a composer to have assembled in his own home two separate archives, one consisting of autographs and the other of conducting scores, quite apart from other archives which were commissioned by individual collectors who wanted complete sets of the composer’s works. That Handel needed two archives casts light upon his working method, which is characterized by an especially intensive exploitation of musical material as well as by the utmost economy in using his time.
The Aylesford Collection
Authors: Roberts John H
Published: November 2023

SURVEYING the chief Handel collections known to him in his Account of the Westminster Abbey Commemoration of 1784, Charles Burney called particular attention to ‘the collection of the earl of Aylesford, formed by the late Mr. Jennings’, in which ‘are preserved in MS. many valuable works of our author’.1 Mr Jennings was of course Charles Jennens (the pronunciation was evidently the same in those days, whatever it was), and the music library he had bequeathed to his cousin the 3rd Earl of Aylesford in 1773 was indeed remarkable, including as it did the largest and most comprehensive collection of Handel copies assembled by any of the composer’s contemporaries along with many other important music manuscripts. For a hundred years this Collection remained safe in the possession of the Earls of Aylesford, but from 1873 it was gradually sold off, the bulk of the manuscripts being auctioned at Sotheby’s in 1918. More than four hundred volumes were ultimately acquired by Newman Flower, the Handel biographer and collector, and are now in the Newman Flower Collection of the Henry Watson Music Library in the Central Public Library in Manchester. But the remaining prints and manuscripts were widely dispersed, some passing from hand to hand until the owners had no idea of their illustrious origin. Fortunately it is possible to trace most of the manuscripts to their present locations and to identify, at least in summary fashion, the contents of a number of others.
The Music-Paper used by Handel and his Copyists in Italy I706—1710
Authors: Watanabe Keiichiro
Published: November 2023

THIS survey of Handel’s Italian music-paper derives from the study of the Italian copyists which I carried out jointly with Dr Hans Joachim Marx in Hamburg in 1987. The results of our investigation of the rastra were not included in our thesis;’ they are now set out for the first time. The survey will shed new light both on Handel’s Italian autographs and on the copies made by the scribes who worked for him.
Italian Source-Studies and Handel
Authors: Everett Paul
Published: November 2023

THE extent to which the appraisal of Handel manuscripts has aspects in common with the present writer’s field—the investigation of Italian manuscript repertories, particularly those of Vivaldi’s music—has not yet been determined. In principle, at least, studies in these two areas are similar and should therefore prove to be complementary and of assistance to each other, especially since Handel was intensely active in Italy for a short period. Some mutually useful evidence may emerge; certain Vivaldi and Handel documents might employ, for instance, the same Venetian paper-types, characterized by the generic watermark of three crescents (tre mezze lune), of the kind Dr Watanabe discusses elsewhere in this volume, i or similarly exhibit the handwriting of a particular Roman copyist. The existence of any connections of this kind which indicate the contemporaneity of particular Handel and Vivaldi sources seems doubtful, however, simply because the time when most Italian Handel manuscripts are likely to have been created is distinctly earlier than the period from around 1713 to which virtually all Vivaldi manuscripts belong.
Cast, Librettist, Composer
Authors: Larue C Steven
Published: November 2023

Although in modern times we most often think of the composer as being the central figure in the creation of an opera, in the first half of the eighteenth century the opera-composer’s artistic choices were often considered to be so limited as to be insignificant. ‘Before he actually starts to write the music’, wrote Benedetto Marcello in 1720.
The Singer as Specific Character Type
Authors: Larue C Steven
Published: November 2023

Although Senesino’s arrival in London does not appear to have fundamentally altered Handel’s approach to opera composition, the presence of a first-rate Italian castrato in his cast clearly affected his thoughts about the details of Radamisto’s characterization.
Conclusion
Authors: Larue C Steven
Published: November 2023

Certainly one of Handel’s greatest achievements in the Royal Academy operas was his dear understanding of the relationship between singer, librettist, and composer in the composition of effective opera seria. If his autographs had not survived, we could only judge his ability in this capacity by gathering what information we could about his singers and librettists from contemporary documentary evidence, the printed librettos, and the performing scores and other copies. The survival of the autographs, however, makes it possible for us to evaluate this particularly important aspect of Handel’s opera composition from a completely different point of view. Having determined many of Handel’s compositional concerns, and having evaluated his reactions to many different compositional situations, a number of conclusions about his compositional choices and how they reflect his aesthetic choices can now be drawn.
C
Authors: Clinkscale Martha Novak
Published: November 2023

CAESAR, Philipp Heinrich (b Mannheim, 24 Jan. 1784-d Lenk, 21 Sept. 1843). Caesar emigrated from Mannheim to Switzerland, where he com pleted his first Swiss instrument, an organ, in 1814 in Burgdorf. He set up his first workshop in Solothurn in 1816 but moved to several other locations in that city in the following years. He died in an avalanche after completing an organ installation in the village of Lenk. (Rindlisbacher/KLAV, 55)
Poulenc Au Theatre: La Chair Et Le Bon Dieu
Authors: Mellers Wilfrid
Published: November 2023

It is not surprising that, after his Rocamadour works, Poulenc felt a need for relaxation—coinciding with the end of the war, for Figure humaine was first performed in 1945. The cantata he believed to be his ultimate justification (‘I play it every day and its under lying integrity and faith foil my foulest mood, my harshest self criticism’). After it, he needed to unwind, and did so by returning to the theatre and to his first love, Guillaume Apollinaire: whose farce, Les Mamelles de Tiresias, had been written as long ago as 1903, but was not produced, with a new prologue and epilogue, until 1917—that critical year in which Francis had met the three artists to whom he owed most, Satie, Eluard, and Apollinaire himself. Poulenc set the text as an opera bouffe in Offenbachian tradition, dedicating it to the composer among his friends most likely to appreciate it, Darius Milhaud.
Poulenc Entre L’ Église Et La Salle De Concert
Authors: Mellers Wilfrid
Published: November 2023

The religious music of Poulenc’s Rocamadour years had consequences a decade or two later. After the Second World War he sought relaxation from the war’s turmoil and from the intensity of this music in letting off steam in his Apollinaire-based opera bouffe, Les Mamelles de Tirésias; he also wrote, in 1948, a religious work that fulfils a comparable function, for the Quatre Petites Prieres de Saint Franfois d’Assise take their texts from a saint famous for benevolence towards created nature.
‘Child Rowland to the dark tower came.’
Authors: Moore Jerrold Northrop
Published: November 2023

The words spoken in the storm of King Lear became a title for Browning’s poem of wandering in desolation. They were set down again in one of Edward’s sketchbooks near the tum of the century. The Enigma solved with a triumphant ‘E. D.U.’ did not after all resolve inner doubts.
The Wanderer
Authors: Moore Jerrold Northrop
Published: November 2023

The date of Alice’s death, 7 April 1920, was inscribed by Edward beside four lines copied from Swinburne: Let us go hence, my songs; she will not hear. Let us go hence together without fear; Keep silence now, for singing-time is over, And over all old things and all things dear. Before their marriage, his music had found no way to create a large design. The marriage had inaugurated his artistic achievement because Alice had given the constant assurance he lacked in himself. Swinburne’s lines made the epigraph to a left-over life.
Some Images of Monody in the Early Baroque
Authors: Hanning Barbara Russano
Published: November 2023

Monody, or accompanied solo song, was new at the end of the sixteenth century only in that it was being composed rather than improvised, written down by humanist-educated performers who believed in the power of the solo voice to move their listeners by conveying the words clearly and by imitating the affections underlying the text through purposeful vocal ornamentation and graceful nuancing. This new style of art-song included a different type of accompaniment as well, which consisted of an instrumental rendering of a supporting line with some simple harmonies, unfettered by the competing contrapuntal parts that had been a feature of Renaissance vocal music. To be sure, monody had much in common with the Renaissance humanist tradition of the improvised song recitations of courtly lyric and narrative poetry, which were self-accompanied on harp or lyre in the manner of Orpheus and other ancient bards. But it was also different enough and sufficiently celebrated to spark a new interest among the poets and painters of the early Baroque.
The Neapolitans in Venice
Authors: Strohm Reinhard
Published: November 2023

The supremacy of Neapolitan composers in eighteenth-century Italian opera is an established myth in the history of music. Already discussed by contemporary critics (see below), the concept of ‘Neapolitan opera’ later influenced music historiography for two centuries. Compounding the issue, Francesco Florimo in 1880 propagated the more specific concept of a ‘scuola musicale di Napoli’ which linked the notion of Neapolitan supremacy to the conservatoire training received by Neapolitan (and immigrant) composers.1 The idea of a ‘Neapolitan school’ in the stylistic sense became the working basis for historical interpretation and source studies in the era of Hermann Kretzschmar, Hugo Riemann, Hermann Abert, and Rudolf Gerber, whose work was paralleled in Britain by Edward J. Dent and Frank Walker. Most of these writers actually questioned the label ‘Neapolitan’. In 1961 the history and problems of the concept were surveyed, under the slightly more cautious formula of a ‘Neapolitan Tradition in Opera’, by Edward 0. D. Downes and Helmut Hucke in a widely noted IMS round-table.
New York, 1825–1826 1
Authors: Radomski James
Published: November 2023

If García’s visit to New York marked an important step in the history of music in the United States, in his own career it was certainly one of the most peculiar. Always, wherever García had performed, there had been an established tradition of opera as well as a love, if not outright fanaticism, for Italian music. This, however, was not the case in New York.

True, there had been attempts at performing Italian opera in English translation, and since the eighteenth century English ballad operas had been performed, but there was not the large-scale appreciation of opera necessary to support such an expensive form of entertainment. Neither was there much concern to acquire or foster such appreciation for opera. With their Anglo-Saxon Puritanical roots, many of the social elite in the United States regarded with suspicion anything so emotionally unrestrained as Italian opera. And the independent, practically minded American character would not easily be convinced that it was in need of culture.
A Bohemian Childhood (1714–1734)
Authors: Howard Patricia
Published: November 2023

Christoph Willibald Gluck was born on 2 July 1714 in the small village of Erasbach in the Upper Palatinate, now northern Bavaria.1 His baptism, two days later, was recorded in the shared parish register for the parishes of Weidenwang and Erasbach. The officiating priest was Simon Papst, the godfather Christoph Fleischmann.2
The Complete Metastasian (1751–1756)
Authors: Howard Patricia
Published: November 2023

There is no trace of Gluck’s activities in the year following his marriage. He is presumed to have remained in Vienna, and he can hardly have disappeared from notice, in view of a passing comment by Metastasio: in a letter to Farinelli, dated 6 November 1751, Metastasio mentions ‘two masters of German music; one is Gluck, the other Wagenseil. The former displays a marvellous but wayward passion; the latter is a prodigious harpsichord player.’1 But it was outside Vienna that his reputation was made in these years.
The Court Composer (1756–1762)
Authors: Howard Patricia
Published: November 2023

After the success of Le cinesi and La danza, Gluck began his official court career. In 1755 he was appointed court composer, and in the following year director of music academies; from 1759 he was named composer of ballets, and in 1760 ‘director of theatre music’ appears in his official title.1
The Piccinni War: First Shots (1776–1777)
Authors: Howard Patricia
Published: November 2023

In July 1776, Gluck’s Parisian friends planned to honour him by commissioning a marble copy of Houdon’s bust, to be placed in the Opéra beside those of Lully and Rameau. The tribute was intended to mark Gluck’s acceptance as a French composer of classic status. A subscription was set up by the cellist Jean-Baptiste Janson (or Jannson) and c by six of Gluck’s colleagues and friends: (in order of signing) Gossec, Du Roullet, Larrivée, Le Due (director of the Concert spirituel), Berton, and Le Gros.
The Last Year in Paris (1778–1779)
Authors: Howard Patricia
Published: November 2023

while Gluck was working on Iphigénie in Vienna, in Paris, Piccinni was drawn into setting the same subject. Undaunted by Gluck’s earlier refusal to compete with Roland, de Vismes planned to take advantage of the continuing rivalry among the composers’ adherents by staging another operatic confrontation.
Withdrawal To Vienna (1779–1780)
Authors: Howard Patricia
Published: November 2023

Back in Vienna, Gluck’s life unfolds mainly through a series of letters to Kruthoffer, to whom he addressed a multiplicity of practical requests: financial management, dealings with publishers, domestic commissions, and repeated demands for news of theatrical life. Although writing no new music, Gluck remained full of plans for activities which never materialized.
Last Years (1782–1787)
Authors: Howard Patricia
Published: November 2023

If the state of my health still allowed me to undertake something in the nature of dramatic composition, I would find nothing more immediately appealing than to accept the offer you have made me, and I believe we would both be pleased by the outcome.
Symphony No. 49 1768
Authors: Haimo Ethan
Published: November 2023

Haydn’s Symphony No. 49 in F minor1 is among those of his works of the late 1760s and early 1770s that, for better or worse, are known as Sturm und Drang compositions.2 Every bit as unusual as we would expect from a symphony that is cast in a minor key and that begins with a slow movement, this work reveals itself to be a highly complex and sophisticated composition, both in the structure of the individual movements and in its overall cyclical organization.
Symphony No. 85 (?1785)
Authors: Haimo Ethan
Published: November 2023

When last we had the occasion to examine a slow introduction (in Symphony No. 75), we found no tangible connections between it and the main body of the movement. That was not unusual; in Haydn’s (relatively few) pre-1785 symphonies with slow introductions, the absence of significant relationships between the slow introduction and the following fast sonata form movement was the norm.1
COLLISIONS
Authors: Thomas Adrian
Published: November 2023

AFTER Stalin’s death in 1953, cultural life in Poland began to break free of the bonds of socialist realism. No single event heralded the so¬ called ‘thaw’; it was rather a series of hair-line and a few major fractures in the system that increasingly encouraged individual initiat¬ ives and opened up communication with the West. The most impor¬ tant musical event was the four-month nationwide Second Festival of Polish Music, whose final stretch occupied most of May 1955. Its significance was less the fact that it was held than that it failed to galvanize both professional musicians and the public. This spurred its organizers, the Presidium of the Polish Composers’ Union, to advance its plans, mooted the previous year, for an international festival of contemporary music to be held in the autumn of 1956. Thus was born the Warszawska Jesien (Warsaw Autumn), a catalytic event in Polish musical life.
BROAD WATERS
Authors: Thomas Adrian
Published: November 2023

G6RECKI has described himself as an ‘odludek’ (recluse), unsure whether this has been good or bad for his life as a composer. Although he had travelled abroad on a number of occasions in the late 1970s, for much of the 1980s he seemed to disappear from public view.2 The ‘stan wojenny’ (state of war), which followed the imposition of martial law by GeneralJaruzelski on 13 December 1981, curtailed everyone’s mobility, and Gorecki was not to travel abroad again until a visit to Denmark in 1984. More crucially, he had a serious hip operation in 1982, and general ill health kept him at home for a considerable time thereafter. His compositional attention began to split in different directions, partly occasioned by the enforced isolation. He totally abandoned the large-scale orchestral medium with voice(s) and con¬ centrated on two more intimate genres: music for unaccompanied choir, and chamber music (for the latter, see Chapter VII).
QUASI UNA FANTASIA
Authors: Thomas Adrian
Published: November 2023

G6RECKI’s use in the choral music of the 1980s of folksongs from Pomorze, rather than from his spiritual home of Podhale, was perhaps a little surprising. But his devotion to the area around Zakopane remained absolute. Since 1978, the family had rented a log house and barn on the banks of the Czarny (Black) Dunajec river on the outskirts of Chochotow, and it was with considerable regret that they lost their tenancy in 1989. They had made many friends since their first holiday there in 1966, pre-eminently the sculptor, violin-maker, and musician Wojciech (‘Waszek’) Blaszak (d. 1974), several of whose instruments and folk sculptures Gorecki now proudly owns. Other local craftsmen included Wtadysl’aw Gromada, one of the last hand-embroiderers of the traditional Goral (mountaineers’) coats and trousers. Gorecki feels totally at home in these surroundings, a throwback perhaps to his childhood in Czernica and his time with Hajduga.
The Process of Creation: Forethought and Spontaneity
Authors: Hurley David Ross
Published: November 2023

Handel’S ‘precompositional’ autograph materials include three basic kinds of items: sketches, drafts, and fragments. The bulk of his sketches and rejected drafts, along with detached sections from other autographs and Handel’s hand written copies of works by other composers, reside now in the Fitzwilliam Museum, Cambridge. To these we can add the drafts and fragments sometimes found in the British Library autographs. Throughout this book the term sketch refers to musical ideas, generally brief, that Handel more than likely jotted down before setting out to compose a piece in score, though some sketching may have taken place during the process of composing. A draft, on the other hand, is a piece that was laid out in score in a more ‘public’ manner: after all, drafts were ultimately to be viewed by copyists, whereas sketches served the composer alone. Drafts apparently originally formed part of (or at least were originally destined for) the autograph composing score, but were rejected and in many cases replaced by new settings. Most often drafts were never fully orchestrated, but the score layout makes it clear that Handel intended to do so.
Musical Imagery as Drama
Authors: Hurley David Ross
Published: November 2023

Previous chapters have suggested that a complete understanding of Handel’s compositional process must allow for paradoxes. Certain issues require us to take this observation a step further: the generalizations that we draw about Handel’s compositional process, extracted from individual cases, at times may assume a dialectical shape; for normative processes that appear to be contradictory or opposed actually disclose a similarity in compositional approach.
‘Trained and immersed in all musical delights’: Towards a New Picture of Busnoys
Authors: Fallows David
Published: November 2023

If Busnoys had died in 1482 rather than 1492, some things would have looked different. A conference ten years ago would have heard the first evidence that Busnoys had been in Tours in the early 1460s, though Paula Higgins in fact published this only in 1984; most delegates would have arrived with no certain information about the composer earlier than his appearance at the court of Burgundy soon before Philip the Good’s death in 1467.
On the Origins, Contexts, and Implications of Busnoys’s Plainsong Cantus Firmi: Some Preliminary Remarks
Authors: Bloxam M Jennifer
Published: November 2023

Historians of medieval music and liturgy have amply demonstrated the astonishing richness of late medieval plainchant traditions. Far from being a fixed, immutable body of prescribed texts, tunes, and actions, the liturgy and ritual governing the daily life of composers manifested a staggering degree of regional variation.
Busnoys and Japart: Teacher and Student?
Authors: Atlas Allan W
Published: November 2023

To assert that one fifteenth- or early sixteenth-century composer studied composition (whatever that entailed) with another composer is tricky even when there is contemporary or near-contemporary testimony for such a relationship.
Religious Women in Milan: From ‘Counter-Reformation’ to ‘Early Modern Catholicism’
Authors: Kendrick Robert L
Published: November 2023

Any attempt to outline the musical world of nuns in an Italian city between the Cinquecento and the Seicento must begin with context: their institutional traditions, the intellectual and musical back-ground to the flowering of their work, their thought and spirituality, and, on the broadest level, the interplay of ideology and expressive culture in their society.
Solo Motets and their Background from cozzolani to Badalla
Authors: Kendrick Robert L
Published: November 2023

The years between Cozzolani’s books and Badalla’s solo motets witnessed the high and low points in the urban politics of nuns’ polyphony. Yet the most remarkable foature of the concertos and Vespers dedicated to sisters in this generation was precisely their normality: the inscriptions by Sisto Reina, Giovanni Battista Cesati, or Francesco Bagatti arc of standard pieces in a variety of scorings, with little sign of the voci pari or ‘motctti per 1nonachc’ tradition. Even the one Roman anthology, Gilwanni Battista Caifabri’s 1665 book addressed to Maria Rcsta, consists of typical ducts and trios by leading figures (Graziaui, Carissimi), including CB and ATB motets.
The Restoration of Choral Service in Cathedral and Collegiate Churches and Chapels
Authors: Wilson Ruth M
Published: November 2023

The organs were back in service in Westminster Abbey and the Chapel Royal in 1660.2 Common Prayer was restored in Oxford University’s college chapels by about June 1660, and Anthony Wood reported that on 11 November ‘the canons and students of Christ Church began to wear surplices and the organs plaid ... Great flocking’.3 Edward Lowe, restored to his post as organist of Christ Church in 1661, promptly published a complete manual with directions and music in response to the urgent need he and certain clergymen perceived for authoritative information on the performance of