bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Neapolitans in Venice
Authors: Strohm Reinhard 
Published: November 2023

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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.
Symphony No. 49 1768
Authors: Haimo Ethan 
Published: November 2023

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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

Abstract
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.
Religious Women in Milan: From ‘Counter-Reformation’ to ‘Early Modern Catholicism’
Authors: Kendrick Robert L 
Published: November 2023

Abstract
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

Abstract
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

Abstract
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
Chanting Service and Double Tune
Authors: Wilson Ruth M 
Published: November 2023

Abstract
The object of saving time could have been more readily attained, and a far better effect produced, by reserving certain portions of the work to be sung in harmony; and chanting, either in unison or harmony, the rest. Such a course would have been ... more in accordance with the primitive model; and would also afford great opportunity for the development of modem genius. For Short Services, this idea may not be without value to future composers for the Church, should any such arise. The task of the church-music composer to provide suitable and acceptable liturgical music for the ‘daily round’ has often required new approaches and special techniques, whether the primary object was to respond to a historical imperative, to satisfy some theological or aesthetic prescription, or simply to save time. The chanting service and the double tune represent two quite different approaches to musical performance in the liturgy, and both had their antecedents in earlier forms of service music. Some of these developed in the sixteenth century, in the wake of the far-reaching liturgical reforms of the Reformation. .
Music and Liturgy in the Episcopal Church of Scotland
Authors: Wilson Ruth M 
Published: November 2023

Abstract
As for our Solemn Devotions, they were no other than the Common Prayers & Liturgy of the Church of England, pure, & unmixed with any Addition of ours. And, it is humbly conceived, this could occasion no Jealousies, nor give any Offense, at least, not till that excellent Liturgy has, once again, had the same hard Fate in England, that Episcopacy has had in Scotland, which, I pray God, may never happen. The main outlines of the history of the Episcopal Church in Scotland in the eighteenth century are well known, but the relationship between episcopalian parties is less clear. For over a century, Episcopalians in Scotland were divided by a physical and jurisdictional ‘Schism’. Neither body conducted its public worship under the concurrent sanction of both church and state. The nonjuring congregations were governed by the remnant of Scottish Bishops descended from the pre-Reformation church, and they met for most of the eighteenth century under the threat of a series of Penal Laws, which outlawed their public and private worship. The qualified chapels belonged to no episcopal jurisdiction, although they were allowed by the government to worship publicly, if they used the English Book of Common Prayer and prayed for the Hanoverian royal family.
Squares and Grands
Authors: Komlós Katalin 
Published: November 2023

Abstract
Bartolomeo cristofori, keeper of instruments at the Medici court in Florence, was a man of inquisitive mind and ingenious technical imagination. He experimented with keyboard mechanisms and produced special types of instruments. The ‘gravicembalo col piano e forte’ (c.1698) was only one of these inventions, but it was the only one that eventually played a decisive role in the history of keyboard instruments.1
Piano Tutors and Treatises1
Authors: Komlós Katalin 
Published: November 2023

Abstract
The nomenclature of the instruments in keyboard tutors published in the last two decades of the eighteenth century is more or less uniform. With few exceptions, English and French treatises offer instruction in ‘harpsichord or pianoforte’ playing, while German ones deal with the art of the Clavier. Generic as the latter term is, it still primarily indicates the clavichord.
Aesthetics of Performance
Authors: Komlós Katalin 
Published: November 2023

Abstract
The first generation of pianoforte players started its keyboard activity on the older types of instruments. The harpsichord and the clavichord were the most likely choices, although the organ should by no means be excluded. To name only the greatest: W. A. Mozart professed the organ to be his favourite instrument,1 and the young Ludwig van Beethoven had an organist’s position in Bonn.
1831-1848
Authors: Macdonald Hugh 
Published: November 2023

Abstract
Berlioz left Paris on 30th December 1830 and went to his home in La Cote-St-Andre for a month. His health was not good and the separation from Camille irked him: his exchange of letters with Hiller, in Paris, touched on her easy-going acceptance of his departure and on ‘mysteries’ which he felt unable to reveal. His parents were welcoming, and proud of his success, but leaving Paris weighed heavily on him. He took the boat down the Rhone from Lyons and stayed in Marseilles a few days, awaiting a crossing to Italy. This was his first sight of the sea, the ‘sublime monster’, as he called it, and it evoked his childhood dreams of travel and distant lands; he discovered the pleasures of clambering around the rocks. Eventually he secured a passage on a Sardinian boat crossing to Leghorn with a bunch of Italian revolutionaries, one of whom enticingly claimed to have known Byron. The voyage began to resemble a Byronic adventure when the ship was caught in a sudden storm and the foolhardy captain ran them close to disaster. The onslaught of the elements, which he survived without being sea-sick, brought a realistic note to his idealized view of the sea. He may have had this experience still in mind many years later when he tested his son’s wish to join the navy and when, in Les Troyens, Aeneas’s soldiers grumble about the hardships of sea life.
Berlioz’s style
Authors: Macdonald Hugh 
Published: November 2023

Abstract
To ears brought up on the German classics, as most still are, Berlioz’s music strikes a strange and sometimes jarring note. It is immediately obvious that his procedures and sonorities are not those of Bach or Mozart, nor even of Schumann or Chopin, and this will either estrange or fascinate the newcomer to his world. It is often said that his music is like nobody else’s, but no composer is entirely without debts to his traditions; even allowing Berlioz full measure of original­ ity as an inventor, we must recognize that it is the tradition as a whole that is strange and not this one member of it. Since the music to which he was first introduced and which aroused his earliest admiration is now rarely heard, we have to make special efforts to unearth the roots of style.
1831–3
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Meanwhile Felix was working hard upon a more serious and less spontaneous work, the ‘Reformation’ Symphony, which was intended for the tercentenary of the Augsburg Protestant Confession. At this time there were frequent arguments in the family circle about the political situation in France; according to Devrient Felix’s views, compared with those of his very conservative father and brother-in­ law, seemed positively revolutionary. Early in 1830 the University of Berlin founded a new professorship of music, which it was hoped Felix would take. However, he declined it, probably with wisdom, as he was too highly strung and volatile to be a good teacher; at his suggestion the professorship was given to Marx.
Oratorios
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The development of the oratorio during the eighteenth century was curiously chequered. Those of Handel were a kind of extension of his stage works; many of them have a strong narrative interest, and the problems of choral counterpoint often resulted in a powerful dramatic tension that is seldom to be found in the operas. Still less does it appear in the oratorios of Handel’s successors. The greatness of Haydn’s Creation is of a very different kind, Beethoven’s Christus am Oelberge was an early by-product and Spohr’s musical personality was far too amiable for him to be able to deal adequately with subjects as formidable as The Last Judgment or The Fall of Babylon. Mendelssohn was an earnest student of the works of both J. S. Bach and Handel, and in his oratorios we can see him clearly trying to emulate the introspective profundity of the one and the dramatic force of the other.
Other choral works
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Apart from the oratorios the most interesting choral work is undoubtedly the setting of Goethe’s Die erste Walpurgisnacht. It dates from 1831-2, but was subsequently revised in 1842—3. It is not all equally good, but the finest things in it are a notable expansion of a mood that appeared on a smaller scale in the songs Hexelied and Neue Liebe, dealing with the more formidable aspects of fairyland. For the overture Mendelssohn, influenced perhaps by Haydn’s The Seasons., wrote a stormy movement entitled Das schlechie Wetter which leads to a quieter passage depicting the approach of spring and eventually leading into the first chorus.
Music for the Stage
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Mendelssohn’s interest in the stage was considerably livelier than might have been expected from the comparatively small amount of music that he wrote for it. His rather priggish comments on Auber’s Fra Diavolo show that he had decided views on what was suitable for stage presentation, and he was continually on the watch for a libretto; if he had made the right choice he might have written an admirable opera, but much would have depended on the choice. By the time Mendelssohn was 14 he had completed four works in the Singspiel tradition, all for performance at home to librettos by the young Berlin doctor Johann Ludwig Casper. Even the earliest of them Die Soldatenliebschaft, dated November 1820, was preceded by two other attempts at dramatic composition, pointing to his interest in the genre from his earliest creative years.