bluuebunny/crossref_metadata_2025 huggingface dataset:
Past and Present
Authors: Swain Simon
Published: November 2023

The phenomenon of atticism leads naturally to a discussion of the wider relationship between the Greek past and the present in the second sophistic. This is a more complicated matter. Atticism is of course a part of the general reinvention and recreation of the classical age that is so striking in our period. But, as has been noted, the atticists never sought to control the language of the non-elite as the promoters of katharevousa did in modern times, cynically or otherwise. With atticism we are dealing with something of concern to the elite only (even though elite-mass relations are an essential element in it). History and tradition are different creatures. Actual reinvention and recreation of foundation legends and myths was no doubt in the hands of the elite (I shall be looking at some examples of this control below). But the statements of literary texts, the historical themes of the sophists and rhetors, historical references and assumptions in political oratory, the presence of semi-historical and historical tales in the ever popular entertainment of the pantomime, evidence from the competitions, festivals, and visual arts of this era, together with the ‘sub’-literary pseudo-histories of Alexander the Great and other historical figures all suggest that ‘ordinary’ people had some knowledge of history and a sense of the tradition of the Greek world and its culture which was independent of the elite. This permeation of the past through the various social layers naturally made it into an object of political interest over the whole arena of civil society, among the tribes, ephebes, cults, schools, assemblies, processions, and all the other institutions of the ancient Greek world that allowed government to rest on a wide base of consent.
Dio of Prusa
Authors: Swain Simon
Published: November 2023

Dio of Prusa, a city in the Roman province of Bithynia, is known to historians principally for his speeches of advice to the Greek cities and for his four major Orations on Kingship. He also wrote many occasional pieces with an ethical or philosophical message. In this respect he follows on naturally from Plutarch. He was in fact born at about the same time and the two had many things in common—a rich background (though Dio was probably the richer), an interest in letters and philosophy (though Plutarch’s work was at a higher intellectual level overall and his output was far greater), an involvement in politics and a belief in statesmanship (here Dio was more active in the rough and tumble of real civic life), and a considered relationship with Rome.
Galen
Authors: Swain Simon
Published: November 2023

The next major figure, the physician, medical writer, and philosopher Galen, is one of the most accomplished intellectuals of the second century, a man of standing in his own time and hugely influential afterwards. Galen was born in Pergamum in 129 into the heart of second sophistic society. His father practised geometry and architecture among other learned subjects, and from an early age Galen was immersed through his care in a philosophical, literary, and scientific education of the highest quality! Galen’s numerous surviving writings’which are by no means restricted to medicine— show a man obsessed with two things: education and the furtherance of knowledge on the one hand, on the other his own attainments and talent. Since Galen lived at Rome for well over thirty years in the latter part of the second century and developed many contacts with the elite of the capital, including successive emperors from Marcus to Severus, he offers a particularly good opportunity for further discovering Greek attitudes to the Roman Empire.
Talking Recipes in the Gynaecological Texts of the Hippocratic Corpus
Authors: Hanson Ann Ellis
Published: November 2023

The Hippocratic writers of the fifth and early fourth centuries BCE were quick to pounce upon what they considered unsophisticated aetiologies for disease and upon remedies they claimed bore no logical relationship to the sickness being treated. The scorn these authors heaped upon those who professed irrational causes and cures is well known. The writer of Sacred Disease criticized witch-doctors, faith-healers, quacks, and charlatans, whose aetiology for epilepsy and sudden seizures invoked attacks from the gods and whose therapies consisted of purifications, incantations, prohibition of baths and specific foods, lying on goatskins and eating the flesh of goats. The writer of Diseases of Young Girls censured women who followed commands from Artemis’ priests to dedicate costly garments to the goddess in the effort to cure madness in the premenarchic young girl.
Zufar Gareyev (b. 1955)
Authors: Laird Sally
Published: November 2023

Zufar Gareyev was brought up in an orphanage in Bashkiriya (now Bashkortostan), a republic in the Urals that is part of the Russian Federation. Subsequently he served in the army and worked as an unskilled labourer in a variety of jobs. In his late twenties he moved to Moscow, where he continued to earn his living as a porter, loader, and odd-jobs man while getting acquainted with the literary ‘underground ‘ and with established writers such as Andrei Bitov and Bulat Okudzhava. Eventually he enrolled at the Moscow Literary Institute, from which he graduated in 1990. Married with three children, he now supplements his income with regular free-lance journalism.
Family Romances: Buñuel’s Mexican Melodramas
Authors: Evans Peter William
Published: November 2023

Buñnuel’s Mexican films fall into two categories: those like Gran Casino, El gran calavera (1949), Susana, La hija del engaño (1951), Subida al cielo (1951), El bruto, Abismos de pasión, and La ilusión viaja en tranvía (1953) belonging to a cine de consumo largely obeying the generic laws of the popular ranchera, musical, or melodramatic films of the commercial Mexican cinema; others, like Los olvidados, El, Ensayo de un crimen, Nazarín, breaking free of commercial constraints, reflecting the more personal interests and obsessions of the Surrealist auteur. Yet the two Buiiuels, commercial and auteurist, cannot be so simplistically polarized, their schizophrenia not so much, like Borges’s relationship with his other self, a genuine paradox of artistic or personal identity, as a categorization forced upon his work by viewers and critics (Borges 1979). Admittedly, Buiiuel has himself often encouraged this schizophrenia, sometimes even dismissing whole films as unworthy of anyone’s serious attention.
Prelude
Authors: Reed T J
Published: November 2023

What is literary culture, Thomas Mann asked in I g10, if not a process oflearning, taking over, and imitating? One meaning he saw in tradition is the training of the writer’s eye by what he reads. He was sceptical about the popular superstition of the unaided original genius. Was it so necessary, was it even possible to write without first having read? This is the most obvious way in which literary tradition operates and it does so most markedly in the early stages of a writer’s career. His learning process may not be easy to reconstruct, since documentary evidence tends to be scarcer and the lack is not made good by later retrospects, not always reliable. Nevertheless, the reconstruction is worth attempting.
The Making of a Novelist: Buddenbrooks
Authors: Reed T J
Published: November 2023

Buddenbrooks, Thomas Mann’s only conventional novel, belongs very obviously to the traditions of nineteenth-century realism and draws on its predecessors for inspiration and in details of technique. It is also governed, beneath the realistic surface, by ideas derived from a nineteenth-century speculative tradition; the nature and degree of realism the novel achieves can only be understood when the role these ideas play is clear. In addition, this first novel is related to Mann’s heritage of tradition because it is an amazingly complete and sudden solution of the problems which were created for him by his literary and intellectual background, as sketched in the last chapter.
Education: Der Zauberberg
Authors: Reed T J
Published: November 2023

Der Zauberberg is Thomas Mann’s most complex creation. It is the summa of his life, thought, and technical achievement to the age of fifty. It is spiritual autobiography, confession and apologia, an intricate allegory, a kind of historical novel, an analysis of Man and a declaration of principle for practical humanism. In appearance it is a parody of the German Bildungsroman,2 the novel of education in which everything —characters, action, and material environment—acts primarily to form the hero’s character. In reality it is a Bildungsroman in good earnest.
Introduction
Authors: Frow John
Published: November 2023

We have never been modern’, writes Bruno Latour;1 meaning that the world has never conformed to the model of a universal rupture which, at a certain moment, would have divided historical time into two great blocs: on the one side the ‘hybridizing’ societies of the old world, where things and people were interrelated, where words had causal force, where practical knowledge was separate neither from power nor from cosmology; and on the other, the ‘purifying’ societies of modernity, in which knowledge and power become quite separate domains, words describe the world rather than performing it, and material things are ontologically distinct from the people who make use of them.
Gift and Commodity
Authors: Frow John
Published: November 2023

For much of this century one of the most powerful and most illuminating ways of thinking about the pattern of relations between persons has been through the opposition of the gift to the commodity. The apparent clarity of the contrast between two very different forms of the social life of things has made it integral to the more general logic that opposes traditional or archaic societies to industrial modernity. But just as that opposition, rather than representing a clear-cut temporal separation, turns out over and over again to be a form of mythical thinking in which the moment of rupture is endlessly repeated, so too, on closer examination, do the concepts of gift and commodity seem to partake of each other: the gift to be structured, as Marcel Mauss dearly recognized, according to forms of calculation and interest that in some sense resemble those of a market economy, and commodities in turn to be constantly endowed with non commodity meanings as they move within the moral economy of everyday life. Indeed, it may be the case that the concept of the gift is most interesting when it is understood not as a figure of pure gratuitousness but through the very ambivalence that provokes the question of how its logic really differs from that of the commodity.
Reporting lndigeneity: News and Talkback
Authors: Hartley John , McKee Alan
Published: November 2023

News tends to function with Lotman’s ‘catalogue of anomalies’, telling a community about the threatening, dangerous, and unfamiliar world beyond its boundaries. This distinction is not static and certain, however. Commercial television news tends ever more towards law formation. Here we examine the ways in which news stories, together with mediated feedback to them (via talkback and features), placed and shaped Indigeneity.
Journalism: Ethics, Training and ‘Indifference’
Authors: Hartley John , McKee Alan
Published: November 2023

There is some debate about what journalism is. As an occupation it has been described variously as a craft, a trade, a career (Barker, 1963), even sometimes as an ethnicity-’reporters are born and not made’ (Given, 1907: 148). It may also be a profession: The occupation which one professes to be skilled in and to follow. (a.) A vocation in which a professed knowledge of some department of learning or science is used in its application to the affairs of others or in the practice of an art founded upon it.
Between Metaphysics and Scientism: Rehistoricizing Victor Erice
Authors: Smith Paul Julian
Published: November 2023

There seems little doubt that Victor Er íce is the consummate Spanish art director. A recent reading of his first feature, El esp íritu de la colmena (‘The Spirit of the Beehive’, 1973), by Santos Zunzunegui begins by stating that there is a ‘fundamental agreement’ amongst critics that Erice’s work constitutes not only the high point of Spanish cinema of all time, but also one of the most notable examples of contemporary Spanish art in general.
Between Land and Language: Locating Bigas Luna
Authors: Smith Paul Julian
Published: November 2023

Bigas Luna is generally thought to be a film-maker of the body, who focuses on ‘the line of the stomach’. But it could also be argued that his main concern is place or space. Thus the so-called ‘Iberian trilogy’ of the early 1990s exploits the varied and picturesque locations of the Peninsula: the arid and empty plains of Monegros in Jam ón, jam ón (1992), the thrusting skyline of Marbella in Huevos de oro (‘Golden Balls’, 1993), and the streets, beaches, and ancient monuments of Barcelona and Tarragona in La teta i la lluna (‘The Tit and the Moon’, 1994).
Cross-Cut: City
Authors: Smith Paul Julian
Published: November 2023

Since Jane Jacobs’s influential The Death and Life of Great American Cities of 1961, theorists have not ceased to predict the end of a specifically urban mode of experience. The loss of the centre and of sociality; the decline of density and festivity; the disappearance of the public sphere: these are the common coinage of a debate which sets the intricate and intimate ‘side walk ballet’ of Jacobs’s Greenwich Village1 against the social and spatial dislocations of Mike Davis’s ‘fortress LA’.
Taking Stock: Das Gespräch Über Gedichte
Authors: Vilain Robert
Published: November 2023

Hofmannsthal can barely imagine that such a heresy exists and that a book such as Biese’s should be necessary. But in his view its fundamental premisses are at least accurate and for good measure he quotes the maxim of Goethe’s that is one of the intellectual pillars on which the book appears to be based: Harmonie des Daseins' is a phrase that Hofmannsthal will have noted in 1894 with both approval and apprehension. But he is soon dis­appointed: the book turns out to be a catalogue of past metaphors, 'eine Sammlung herrlicher Gedichte' [a collection of marvellous poems; RA i. rgr], with many excerpts from the Greek philosophers and the Church Fathers, which is not what he had hoped for.
‘Quagmires of History and Terminology’The Origin of the Violin
Authors: Holman Peter
Published: November 2023

The early history of the violin is a notoriously difficult subject. In 1875 George Hart wrote that it remained ‘more hopelessly obscured than the identity of the “Man in the Iron Mask”‘, while Gerald Hayes observed in 1930 that the violin was ‘one of the very few important instruments of which it can be said that at a given date it was not at all, and shortly afterwards it is found fully-fledged in active life’; as late as 1965 David Boyden was moved to remark that ‘most accounts of the “inventor” of the violin and the precise date and place of its origin bog down in the quagmires of history and terminology’.
‘Mynstrelles with Straunge Soundes’ Fiddles, Rebecs, and Viols at the Early Tudor Court
Authors: Holman Peter
Published: November 2023

The early history of string-playing at the English court is an obscure subject. Court documents of the fourteenth and early fifteenth centuries seem to use words such as violour, vieler, vidulator, gigator, crowder, and fytheler to describe individuals who were principally players of bowed instruments, though it is not always possible to match these words with the main types of instruments that occur in contemporary English pictures-those known today as the rebec, the vielle or fiddle, and the crowd or crwth. Furthermore, these terms, ambiguous enough to us already, tend to disappear from court documents in the course of the fifteenth century.
‘Common Musicke’ The Violin outside the Court
Authors: Holman Peter
Published: November 2023

According to our received notions of musical history, the violin was of little importance in England until the second half of the seventeenth century. ‘In England’, wrote Nicholas Kenyon in 1984, ‘the spread of the sonata, and of the violin, had to wait until the Restoration of Charles II in 1660.’1 Kenyon’s opinion has, at first sight, a sound basis, for it was shared by writers at the time. Roger North wrote, ‘the use of chests of violls, which supplyed all instrumentall consorts, kept back the English from falling soon into the modes of forrein countrys, where the violin and not the treble viol was in use’; and again, writing of music before the Civil War:
‘By Intervals Design’d’ Music for the London Stage
Authors: Holman Peter
Published: November 2023

ONE evening in February 1667 Samuel Pepys had a conversation with the theatre manager Thomas Killigrew. After a while Killigrew began to compare conditions in the London theatres before and after the Civil War: Killigrew and Sir William Davenant, the leading survivors of the pre-war London theatre, were the managers of the two ‘patent’ theatres, formed at the Restoration under the respective patronage of the king and his brother,James, Duke of York. Yet Pepys should have known better than to believe Kmigrew’s boast that the innovations of the Restoration stage had been made ‘by his pains’. As Killigrew let slip, the decisive agent of change was Charles II himself. Unlike his father, who was said never to have set foot in a commercial theatre, the new king took an interest in the affairs of the two theatres, and regularly patronized them in person.
The Symphonic Style
Authors: Whittall Mary
Published: November 2023

E. T. A. Hoffmann’s review of Beethoven’s Fifth Symphony, published in the Allgemeine musikalische Zeitung in 1810, has always been regarded both as one of the finest testimonies to an enthusiasm for Beethoven that was informed by thoughtfulness and imagination, and also as a primary document of the musical aesthetics of the Romantic era, and therefore, to that extent, a source of the misunderstandings that were part of the ‘romantic picture of Beethoven’. There is no escaping the fact that, in some important features, Hoffmann’s musical aesthetics were in direct contradiction to the principles underlying Beethoven’s music.
The ‘Underlying Idea’
Authors: Whittall Mary
Published: November 2023

I carry my ideas around with me for a long time, often a very long time, before I write them down. My memory remains so true the while that I am sure not to forget a theme, even years later, once I have hold of it. I change some things, discard, and try again until I am satisfied with it; then the elaboration begins in my head: expanding, compressing, raising, and ‘ deepening; and as I know what I want, the underlying idea never deserts me. It rises, it grows tall, I hear and see the image in my mind in its entire extent, as if cast in a single mould, and all that remains is the task of writing it down, which is accomplished quickly, as and when I find the time, because I sometimes have several things on the go at the same time, but am sure of not confusing any of them with any other.
Rendering the Structure as a Whole
Authors: Badura-Skoda Paul , Clayton Alfred
Published: November 2023

In an interesting, though largely subjective, review of Erwin Bodky’s book on Bach, Glenn Gould accused the author of having written only about fugue subjects, and not about the performance of whole fugues, and criticized him for not having addressed himself to the question of how Bach achieved the cohesion of large scale works.1 This criticism is justified, though it could be levelled at all the authors of eighteenth-century treatises. Despite the thoroughness with which C. P. E. Bach and Quantz deal with everything that pertains to good execution, they fail to tell us how they envisaged the structure of fugues, sonatas, suites, or concerto movements in terms of performance. True, Leopold Mozart speaks on a number of occasions of the continuous line, the filo of a composition, though he does not tell us how to grasp this connecting ‘thread’ or where, for example, the moments of greatest and least tension are, and so on.
Appoggiaturas
Authors: Badura-Skoda Paul , Clayton Alfred
Published: November 2023

Appoggiaturas, which could be either short or long, were the most common eighteenth ccntury ornaments. Significantly, C. P. E. Bach calls the short appoggiaturas ‘unvariahle’, thus revealing that the duration of the other appoggiaturas was not always precisely determined: it was variable.
The Application of Ornaments that are not Notated
Authors: Badura-Skoda Paul , Clayton Alfred
Published: November 2023

Although Bach’s ornamentation is far more precise than that of the majority of his contemporaries, he is sometimes guilty of unclear or ambiguous notation. Quite a number of mistakes have crept in, especially in works that have survived only in copies or in printed form. Some signs have been mistaken for others, and some are in the wrong place.
The Visual Appearance of the Sketches
Authors: Cooper Barry
Published: November 2023

THE sheer visual appearance of Beethoven’s sketches has deterred many a scholar from making full use of them. Quite apart from the fact that related sketches are now often in widely separated locations and have presented formidable difficulties for reconstructing the sketchbooks as Beethoven used them, there are considerable problems in simply deciphering what he has written. It therefore seems desirable here to discuss first the nature and appearance of the sketches, and the problems of deciphering and transcribing them into ordinary notation, before examining their contents in detail; for an understanding of what they signify and in what ways they may be ambiguous is greatly helped by a knowledge of their peculiar notational features and Beethoven’s idiosyncratic handwriting. Moreover there has hitherto been no detailed discussion of what are the principal difficulties of reading the sketches, and how these difficulties may be overcome.
First Conceptions: Piano Sonata in D Minor, Op. 31 No. 2
Authors: Cooper Barry
Published: November 2023

IN this part of the book we shall explore in detail a variety of compositional problems that were liable to confront Beethoven in the course of composing individual works. Such a study cannot effectively be made with just a single work, since not all works presented the same problems. In most cases, too, not all the sketches survive, and some compositional problems do not show up clearly in the extant sketches for a particular work, while others seem very conspicuous. For example, the great wealth of sketches for the late quartets impedes any overall view of a work’s evolution, but it facilitates a study of the various aspects of a particular question such as the number of movements Beethoven was planning for the work. Conversely in the early sketches one can sometimes trace the overall growth of a complete work relatively easily, even though detailed study of the creation of individual features is impossible because of insufficient sketches. Thus by careful selection of sketches from a number of different works, it is possible to put together a picture of the pattern of evolution of Beethoven’s compositions in general which is fuller and more wide-ranging than any that could emerge from just a single work.
The Madrigals: Books V & VI
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

THE fifteen-year gap between the appearance of the fourth and fifth books of madrigals is puzzling. We know that Gesualdo had not remained totally inactive during this period since he had published two books of Sacrae Cantiones in 1603. Yet it might still be logical to suppose that the pause before his last two madrigal volumes represents a genuine incubation period for the development of the stylistic features of his most mature creations.
The Responsoria
Authors: Watkins Glenn , Stravinsky Igor
Published: November 2023

ALTHOUGH Gesualdo’s character as a composer has until recently been known to us only from his madrigals, the somewhat larger view now afforded by the knowledge of his sacred works and two instrumental pieces does not materially affect our picture of him as a com poser working within the framework of the older forms. The madrigal he inherited from a line of distinguished predecessors from Festa and Arcadelt to Rore and Marenzio, and the motet in its various guises had had an even longer history. Yet neither the madrigal nor the motet implied a rigid formal design. The madrigal could change its shape for expressive purposes, and this same quality infused the motet also with a new life at a moment when it might otherwise have outlived its usefulness.
Handel’s Music for the Peace of Utrecht, 1713
Authors: Burrows Donald
Published: November 2023

Handel’s first visit to London had coincided with the establishment of a Tory ministry, buttressed by the Queen’s favour and a substantial majority in the 1710 election. The change of government had important consequences for the direction of British foreign policy. During the period of Handel’s first visit the secret diplomacy had already begun which led to the signing of the first peace articles between Britain and France in September 1711.
The King’s Return; Handel’s Re-establishment at the Chapel Royal
Authors: Burrows Donald
Published: November 2023

The waves of political, social, and domestic pressures at the British court that had swept Handel away from the Chapel Royal after 1714 brought him back again in the 1720s. Much can only be surmised about the forces involved, but the route of Handel’s return to the occasional life of the Chapel can be established in relation to the wider background of contemporary court history and musical activity in London.
Other Chapel Royal Music from the Second Period, 1722–1726
Authors: Burrows Donald
Published: November 2023

The evidence for a revival of the Caroline Te Deum in the 1720s has already been presented in Chapter 5. It remains only to note some features of its performance at this time and to examine the musical construction of the new setting of ‘Vouchsafe, O Lord’. The artistic weight of the work now fell heavily onto the alto soloist Francis Hughes, who must have performed all of the music originally composed for Elford in addition to his own previous music; the new movement was also composed for him.
The New Reign and the 1727 Coronation
Authors: Burrows Donald
Published: November 2023

The death of the King on his way to Hanover on 11 June 1727 generated some routine administrative activity for the Chapel Royal. The Gentlemen, in common with other employees of the court, had to be sworn into their places afresh and special arrangements were made for aged absentees, such as John Gostling, who could not come up to London for the purpose. The establishment was tidied up: no fewer than five Children were discharged from the Chapel during June 1727.
The Relationship between Perfect and Imperfect Time
Authors: Berger Anna Maria Busse
Published: November 2023

While it is relatively easy to establish which signs were used to indicate what mensurations, the question how all these signs were related to one another is not so easy to solve. The most common of these relationships is that of perfect to imperfect time. Music of the Renaissance abounds in instances of successive and simultaneous use. When perfect and imperfect time occur simultaneously, the relation ship can usually be determined without much difficulty. It cannot be assumed, however, that horizontal relationships of mensurations were always identical with the vertical ones. Consequently, when imperfect time precedes or follows perfect time, the question arises which value should remain equal under both tempora, the breve, semibreve, or minim? It is striking that not a single modern scholar considers the possibility of semibreve equivalence.
The Relationship between Major and Minor Prolation
Authors: Berger Anna Maria Busse
Published: November 2023

The relationship between major and minor prolation when they occur simultaneously or in succession is as controversial as that between perfect and imperfect time, with the additional difference that there are not two but seven options from which to choose:
Diminution by Stroke and by Mode Signs
Authors: Berger Anna Maria Busse
Published: November 2023

The meaning of these time signatures is certainly one of the least understood aspects of early music notation, and not without reason. Already in the fourteenth, but particularly in the fifteenth and sixteenth centuries, theorists advocated the most diverse interpretations of diminution signs.
Proportion Signs
Authors: Berger Anna Maria Busse
Published: November 2023

Proportions as applied to harmonic intervals have formed the basis of treatises on music since antiquity. However, the earliest theoretical explanation of rhythmic proportions—or, to be more specific, fractions in which a certain number of notes in the numerator are made equal to a different number of notes of the same type in the denominator—was given by Prosdocimus de Beldemandis in his Tractatus practice de cantus mensurabilis of 1408.
First Philharmonic
Authors: Ehrlich Cyril
Published: November 2023

Established by musicians in 1813, the Philharmonic is the world's second oldest concert society; only Leipzig is senior. Weber and Mendelssohn were active honorary members; Joachim and Clara Schumann lifelong friends. The list of gold medalists runs from Elgar and Beecham to Sibelius, Rachmaninov, and Tippett. Most instrumentalists and many singers of international repute mounted its platforms. Berlioz, Wagner, Tchaikovsky, Grieg, Dvorak and Strauss came to preside over their music. Celebrating a venerable institution, this history, based upon exhaustive research in the Society's archives, also addresses wider themes, which continue to bear upon concert life: the evolution of repertoire and performance, audience, agent and conductor; networks of recruitment; patronage and the market place; the collective biography and proliferation of London orchestras; the economics of fees and rehearsals. Shaw once claimed that the Philharmonic's generosity towards Beethoven was the only creditable incident in English history, and never mentioned by historians. A leading authority on the economic and social history of music now attempts to repair that omission.
Beginning
Authors: Ehrlich Cyril
Published: November 2023

The Philharmonic Society was created by professional musicians working in London who wanted a regular platform for serious, predominantly instrumental and orchestral, music. They needed ‘patronage’ from people who were then described as ‘amateurs’. But they had every intention of running their own show. This apparently simple description will need reappraisal as our story unwinds, for at least two reasons. Behind its facade of unity and determination, the Philharmonic was, probably from its start, a loose association of diversely talented and motivated people whose purposes, constituency, and control were bound to change.
Beethoven and a Balanced Budget
Authors: Ehrlich Cyril
Published: November 2023

The most celebrated events in the history of the Royal Philharmonic Society are its dealings with Beethoven, particularly in relation to the Ninth Symphony. Every biographer discusses them, and they have been chronicled minutely and debated without cease by musicians and historians concerned that nothing about the composer and that canonic work-’a cultural symbol of enormous importance’-should escape scrutiny.
Plateau and Descent
Authors: Ehrlich Cyril
Published: November 2023

0n 23 June 1855 the directors sent Wagner ‘cordial thanks for his attention, zeal and ability, as Conductor of the Concerts, in carrying out their views’.There was no question of inviting him to return; nor, of course, would he have wished to do so. Davison later recalled the situation with unconcealed relish: ‘the Music of the Future’ did not suit ‘our great conservative institution’; but then, thanks to the Society’s ‘vigorous constitution’, the greatest of English musicians ‘courageously grasped the baton’ and a golden age began. Later commentators have sung along with this hymn of thanksgiving after the storm.
Interlude for War
Authors: Ehrlich Cyril
Published: November 2023

On 3 September I 939 all public entertainment was officially cancelled until further notice. In the spring the plenitude of London’s musical life had been celebrated in a festival organized by Owen Mase, a BBC executive, connected with the Philharmonic, who had managed, for that limited purpose, to ‘unite the whole musical establishment on his council’, with the King and Queen as patrons, and a culmination of six magnificent concerts by the BBC Symphony Orchestra under Toscanini.
One Fateful Year1853
Authors: Avins Styra , Eisinger Josef
Published: November 2023

By the age of 19, Brahms was a virtuoso pianist, an aspiring and prolific composer, earning a bit of money in various unsatisfactory ways, and virtually unknown. If his musical horizons were broad, his professional prospects were exceedingly limited. He had never been far from Hamburg, and in Hamburg he could hope for little. His good fortune there was limited to having found two gifted and conscientious teachers: after Cossel, Brahms studied with Eduard Marxsen, who fostered not only Brahms’s pianistic, but also his intellectual development.
In Hamburg Again1859-1862
Authors: Avins Styra , Eisinger Josef
Published: November 2023

When Brahms accepted the position at Detmold, his primary residence shifted back to Hamburg once again. He lived first with his parents and then in the nearby suburb of Hamm, when his need for privacy and space prevailed.
At Home in Vienna1871-1876
Authors: Avins Styra , Eisinger Josef
Published: November 2023

In every way, the year 1871 was a turning-point. By the end of it, Brahms had a permanent address and a permanent job. After almost two decades spent lodging in temporary quarters or staying with friends and family in Germany or Switzerland, Brahms found himself a flat in the Karlsgasse, Vienna-Wieden IV, and never moved again.
Benjamin Britten
Authors: Elliott Graham
Published: November 2023

Since Britten’s death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from ‘normal’ society, and that this accounts for the his concern to portray the ‘outsider’ in his operas. There is no doubt that this is an important aspect of Britten’s art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten’s early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical ‘themes’ which Donald Mitchell has noted, they can be traced throughout Britten’s life and work. The author was privileged to have conversations with two clergymen who were influential in Britten’s life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer’s music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten’s larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as ‘keen, wherever possible, to work within the framework of the Church of England’. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.
The Liturgical Music
Authors: Elliott Graham
Published: November 2023

The previous chapter demonstrates the considerable extent of Britten’s use of the distinctively Christian heritage of plainsong and hymn tunes in a wide variety of works covering the whole of his career. It is surprising to find that despite this particular Christian theme he wrote relatively little music which was specifically for church use. The dearth of liturgical music is less surprising in the light of the known facts of his withdrawal from the organized Church in the 1930s.
Conclusion
Authors: Elliott Graham
Published: November 2023

This quotation could quite easily have been written by Benjamin Britten: it was, in fact, written by Wilfred Owen. Owen expressed his brand of Christian pacifism through words: Britten expressed his own form of pacifism through his remarkable gift for selecting and setting words in a way which enabled those words to speak to the listener with an added potency, a piercing clarity. The imagery of Owen’s most poignant poems of the First World War is often drawn from the story of Christ’s Passion: this book has sought to show the extent to which Britten drew on the traditions of Christianity for the themes with which he was concerned throughout his career.
A Sienese Gentleman
Authors: Reardon Colleen
Published: November 2023

The earliest account of Agostino Agazzari’s career can be found in a miscellany of’diverse facts about Siena’ compiled by the Sienese priest Filippo Montebuoni-Buondelmonti during the papacy of Urban VIII (1623-44). The manuscript includes musicians’ biographies, most penned with such concision that gaps are inevitable: ‘1633: Agostino Agazzari. An excellent organist and an outstanding composer, whose published works number [lacuna].
Warm-Up and Other Basic Exercises
Authors: Schuller Gunther
Published: November 2023

I have brought the prospective student or player to the point where he is able to produce his first note. I have indicated how the note is to be started, held and ended. This is the time then to introduce the subject of long note practice and, with that, the subject of warm-up exercises. Wherever I have travelled there always seem to be a few players who feel—or at least claim to feel—that warming up is not necessary for them. Some of these are indeed excellent players, gifted with natural physical talent for the horn, to whom the warming up that a less natural player requires is anathema. Around such players a kind of myth arises that the warm-up is a waste of time, and only for weak players-that it is a ‘sissy’ approach to the horn.
Some Notes for Composers and Conductors
Authors: Schuller Gunther
Published: November 2023

Being a composer as well as a horn player, I have often been asked advice by fellow composers about the feasibility of given horn part. The horn seems to frighten most composers, especially as regards the extreme registers and such technical miscellanea as trills, the notational question of when to use the bass clef, and the like. The two areas in which composers seem to err most consistently are muting and the use of the low register. I have discussed all aspects of muting in Chapter VII, and I urge any composer or conductor, into whose hands this little book should fall, to read that chapter very thoughtfully.
Enumerating the Settings
Authors: Cooper Barry
Published: November 2023

How many folksongs did Beethoven set, and if he set some of them more than once, how many settings are there altogether? Answers to these questions have varied widely. As was seen in the Introduction, Orrey has indi cated a total of 150 settings of British melodies, while Solomon mentions ‘about 180’ of them. Since it is well known that some of Beethoven’s set tings are of Continental melodies, it is unclear whether Orrey’s and Solomon’s figures are intended to include these too or whether they have been tacitly disregarded.
Economics and Logistics
Authors: Cooper Barry
Published: November 2023

It is easy to forget the considerable practical difficulties Thomson had to face in order to obtain folksong settings from Beethoven. The disruption to the postal service between Vienna and Edinburgh caused by the Napoleonic Wars during the early years of the project resulted in long delays, sometimes of over a year, and the danger of outright loss of the settings sent. Fluctuating exchange rates meant considerable uncertainty about the cost of commissioning settings. The melodies themselves had to be obtained either aurally or through copying from a source which might be corrupt; by the time these melodies had been copied out and sent to Beethoven, who might himself miscopy them, the risk of errors infiltrating was quite high. Moreover, neither man knew the other’s language. Thomson therefore consistently corresponded in French, which Beethoven knew fairly well. Beethoven’s replies were usually also in French; but two of them (15 September 1814 and October 1814) were in Italian, while one of them (7 February 1815) and some of the receipts were in English.
The Chandos Collection
Authors: Beeks Graydon
Published: November 2023

ANOTHER patron who, like Elizabeth Legh, began a collection of Handel’s music before 1720, was James Brydges, from October 1714 Earl of Caernarvon and from April 1719 1st Duke of Chandos. The music of Handel formed only a small part of his music-library, which was an adjunct to his activity as patron of his own private band—the so-called ‘Cannons Concert’ —which provided music at his newly built Palladian seat of Cannons near Edgware. This activity lasted from late 1715 to around mid-1721 when, in response to financial losses from the collapse of the South Sea Bubble (and perhaps also to the inauguration of the Royal Academy of Music), Brydges released almost all his professional musicians.1 Although there was some musical activity over the next few years involving servants and London musicians imported by Cannons’s musical director, John Christopher Pepusch, there is no evidence that the Duke continued to commission music or to add to his music collection in any significant way after 1721.
L
Authors: Clinkscale Martha Novak
Published: November 2023

LAMBERTY. Paris piano maker in the rue des Vieux-Augustins in 1801. (Place/PARIS, 182)

LAMERS, Albert. Paris piano maker in the rue de Ponceaux in 1790. (Place/PARIS, 182)

LANDRETH, John. London piano maker at Taber nacle Walk, Old Street, from 1787. (Harding/ PIANO, 398)
N
Authors: Clinkscale Martha Novak
Published: November 2023

NADERMAN, Veuve et Fils (Widow and Son [of Jean-Henri Naderman]) [fl. 1796-1820]. Piano makers in Paris and successors to Jean-Henri Naderman, a famous harp maker, who had emigrated to Paris from Driburg (Paderborn), Westphalia. Their addresses were the rue de Richelieu in 1796; the rue de la Loi from 1799 to 1806; and again at 46 rue de Richelieu in 1820. (Place/PARIS, 183; Weber/MERCKEN, 35 ff.)
P
Authors: Clinkscale Martha Novak
Published: November 2023

P., G. See PIANTANIDA, G.

PAPAZEK (PAPATSCHEK, PAWATSCHEK),

Joseph (b Jermaritz, Moravia, 1775-d Vienna, 21 Feb. 1822). Moravian piano maker in Vienna. (Ottner/WIEN, 109)

PAPE, Jean-Hemi (Johann Heimich) (b Sarstedt, near Hanover, 1 July 1789-d Asnieres, near Paris, 2 Feb. 1875). Pape was active in Paris from 1811 and his workshop was established in 1815 or 1817. In 1819-20 Pape’s address was 7 rue Montesquieu, while from about 1817 until 1822 he was located at the end of the cour des Fontaines. A later address was 23 rue Croix-des-Petits-Champs.
w
Authors: Clinkscale Martha Novak
Published: November 2023

WAARUM, C. F. [fl. c.1820-49?). Piano maker in Christiania (Oslo).

1 DATE: [c.1820] STYLE: Square COMPASS: 6 oct.: FF-(4 LENGTH: 165 WIDTH: 74 CASE: Mahogany INSCRIPTION: C. F. Waarum i Christiania NATURALS: [White] SHARPS: [Black] HAND STOPS: None KNEE LEVERS: 1: [forte] PEDALS: None FORMER OWNERS: Norway/[Bergen]: Ole Bull, violinist; Edmond Neupert, Norwegian pianist PRESENT OWNERS: Norway/Oslo: Norsk Folkemuseum, no. 116 REFERENCES: Oslo/NORSK, 71
Z
Authors: Clinkscale Martha Novak
Published: November 2023

ZATLLASCH, F. I. (fl. 1826 or before 1830). Berlin piano maker. (Hirt/MEISTER, 487)

DATE: c.1820 STYLE: Square COMPASS: l LENGTH: 180 WIDTH: 90 TOTAL HEIGHT: 76

CASE: Mahogany veneer; rounded corners; open music desk; four rounded legs, no casters INSCRIPTION: F. I. Zatllasch in Berlin on an oval label on the nameboard NATURALS: Ivory SHARPS: Ebony HAND STOPS: None KNEE LEVERS: None PEDALS: 1 attached to lyre: damper PRESENT OWNERS: Poland/Poznan: Palace in Arcugowo REFERENCES: Vogel (1989)
Trill Types
Authors: Harrison Bernard
Published: November 2023

As is the case with regard to many other aspects of performance practice, the most comprehensive commentaries on the notation and interpretation of the trill are to be found in C. P. E. Bach's Versuch and subsequently in treatises which were strongly influenced by Bach's magnum opus, chief among which we must count the treatises of Marpurg, Agricola, and Türk. Although it cannot be claimed that Haydn's attitude to performance practice agreed with Bach's in every detail, nevertheless a documentary link between Haydn and two North German treatises, Bach's Versuch and Marpurg's Anleitung zum Clavierspielen, is established. For this reason the treatises of Bach and his followers constitute a central source of information for the present discussion, and Neumann's view of these sources as a local, ‘militaristic’ phenomenon in performance practice must be rejected for the reasons stated in Chapter 5. The ubiquitous question concerning the trill in modern writings on performance practice is, of course, whether an upper-auxiliary or main-note trill is appropriate. North German treatises present a uniform attitude to the question, consistently advocating an upper-auxiliary start. Concerning ornaments in general Bach states that ‘the other voices including the bass [i.e. those voices not containing the ornament] must be struck with the initial tone of an embellishment’ and specifically in connection with the trill he states that ‘Since it always begins on the tone above the principal note, it is superfluous to add a small note … unless this note stands for an appoggiatura.’
Word Order, Information Structure, and Centering in Turkish
Authors: Hoffman Beryl
Published: November 2023

In this chapter, I investigate the interaction between centering theory and word order in a ‘free’ word order language, i.e., Turkish. In “free’ word order languages, e.g., Czech. Finnish. German, Hindi, Hungarian, Japanese, Korean, Polish. Russian, Turkish, Urdu, the word order serves to structure the information being conveyed to the hearer by indicating what is the topic and the focus of the sentence. These discourse-related notions, which will be defined more thoroughly in the next sections, form the information structure of the sentence. I will argue that centering and information struc ture have different roles in discourse processing. The information structure of a sentence instructs the hearer on how to update his/her discourse model with the information in the sentence, while centering serves to link the sentence to the prior context.
Centering, Anaphora Resolution, and Discourse Structure
Authors: Walker Marilyn
Published: November 2023

Centering was formulated as a model of the relationship between attentional state, the form of referring expressions, and the coherence of an utterance within a discourse segment (Grosz, Joshi. and Weinstein 1986, 1995). In this chapter, I argue that the restriction of centering to operating within a discourse segment should be abandoned in order to integrate centering with a model of global discourse structure. The within-segment restriction causes three problems. The first problem is that centers are often continued over discourse segment boundaries with pronominal re ferring expressions whose form is identical to those that occur within a discourse segment. The second problem is that recent work has shown that listeners perceive segment boundaries at various levels of granularity.