bluuebunny/crossref_metadata_2025_split huggingface dataset:
“we Have No Kulaks Here”: Peasant Luddism, Evasion, and Self-Help
Authors: Viola Lynne 
Published: November 2023

Abstract
Thanks to Yakov Lukich’s example, men began slaughtering their cattle every night in Gremyachy. As soon as it grew dusk, one could hear the short muffled bleating of sheep, the death squeal of a pig piercing the stillness, the whimper of a calf. Both the peasants who had joined the collective farm and the individual farmers killed off their stock. They slaughtered oxen, sheep, pigs, even cows; they even slaughtered their breed animals. In two nights the head of cattle in Gremyachy was halved. Dogs began to drag offal about the streets, the grocery stall sold nearly two hundred poods of salt that had been lying on the shelves for eighteen months.
Civil War
Authors: Viola Lynne 
Published: November 2023

Abstract
A civil war culture was integral to the First Five-Year Plan revolution. It established the mobilization atmosphere and siege mentality so essential to Bolshevik fortress storming. It dehumanized the enemy and granted people permission to engage in acts that under normal circumstances would be defined as criminal or immoral. The policies of the Stalin revolution further enhanced this culture by pushing the enemy into a corner from which violence was frequently the only outlet. Violence fed on violence, state terror provoked and reacted to anti state terror, and a civil war mentality dominated the times.
Behind The Curve
Authors: Kamin by Leon J 
Published: November 2023

Abstract
The Bell Curve, with 400,000 copies in print just two months after its publication, has created an enormous stir. The authors unabashedly assert that scientific evidence demonstrates the existence of genetically based differences in intelligence among social classes and races. They maintain further that data from some 1 ,ooo publications in the social and biological sciences show that attributes such as employment, income, welfare dependence, divorce and quality of parental behavior are determined by an individual’s intelligence. These claims-another eruption of the crude biological determinism that permeates the history of IQ testing-lead Herrnstein and Murray to a number of social policy recommendations.
Opioids in the treatment of neuropathic pain: a systematic review of controlled clinical trials
Authors: Jadad Alejandro R 
Published: November 2023

Abstract
Neuropathic pain is a frequent problem and a great challenge for patients, clinicians, researchers, and policy makers. It is perhaps second only to low back pain as a cause for chronic nonmalignant pain. In a recent, large case series, neuropathic pain was present in 34% of cancer patients attending a pain clinic. Despite increasing evidence that neuropathic pain involves multiple pathophysiological mechanisms, adequate experimental methods to study, discriminate, and manipulate the putative abnormalities are lacking: Such limitations in the understanding of the mechanisms responsible for neuropathic pain hinder any effort to classify patients in the clinical setting. In addition, clinical trials have consistently failed to identify patient characteristics that could predict the response of neuropathic pains to particular treatments.
Practical Considerations in the Management of Anorexia/Cachexia: What Do We Say and What Do We Do?
Authors: Fainsinger Robin L 
Published: November 2023

Abstract
Cachexia and anorexia are both highly prevalent problems in advanced cancer patients. Anorexia generally refers to loss of appetite and a poor food intake, while cachexia refers to the weight loss suffered by these patients. Eighty to ninety percent of patients with advanced malignant disease have been reported to suffer from cachexia and anorexia. While the ideal clinical management would be to remove the underlying cause, this is clearly not possible with the majority of these patients.
Conflict Between Families and Staff: Diagnosis, Management, And Prevention
Authors: Jenkins Catherine , Bruera Eduardo 
Published: November 2023

Abstract
Almost half of the families of palliative patients are dissatisfied with some aspects of the care received1 and approximately 5% develop a conflict with staff. It is not known how frequently staff perceive families as interfering with care; however, anecdotally, family displeasure is a major stressor for staff. This chapter will examine both the causes and management of family-staff conflict. For the purposes of this chapter, “conflict” will be defined as an expressed dissatisfaction by either staff or family about the other’s care or concern towards the patient. This will include any situation where either (a) the family communicates that the staff are not acting in the best interest of the patient or (b) the staff let the family know that they are acting inappropriately. A secondary definition will include any situation in which the family expresses a belief that their needs are not being met.
Adams
Authors: Steinberg Michael 
Published: November 2023

Abstract
Adams began his Violin Concerto on 7 January 1993. The official completion date of the score was 1 November 1993, although some changes of detail continued to arrive for two or three weeks after that and a few were made during rehearsal. The work was a joint commission by the Minnesota Orchestra, the London Symphony, and the New York City Ballet. The first performance was given in Minneapolis on 19 January 1994 by Jorja Fleezanis with Edo de Waart and the Minnesota Orchestra. Partly in collaboration with the violinist Gidon Kremer, who had been chosen to give the first performance with the London Symphony, Adams made some further revisions after the first performance. Adams dedicated the work to the late David Huntley of the publishing firm Boosey & Hawkes: American composers in recent years had no better friend.
Barber
Authors: Steinberg Michael 
Published: November 2023

Abstract
He had started writing songs at seven, and only a year after so urgently declaring his life intentions to Daisy Barber, he set Mother Goose verses to music and composed one act of an opera, The Rose Tree, with a libretto by Annie Sullivan, the family’s well-read cook. At fourteen, he was enrolled in the first class at the newly opened Curtis Institute in Philadelphia. As well as becoming a composer, he turned out to be a good singer and a fine pianist: bis recording, made at twenty-five, of his own setting of Matthew Arnold’s Dover Beach is a classic monument in phonographic history, and the one with Leontyne Price of his Hermit Songs attests to his finely honed skill at the keyboard.
Bartok
Authors: Steinberg Michael 
Published: November 2023

Abstract
Bartók the pianist is present in this music, much as the performing personalities of Mozart, Beethoven, Brahms, Rachmaninoff, and Copland are in their works for piano. Writing for himself, Bartók made tremendous demands on his own technical resources in matters of color, marksmanship, and stretch. His playing was firmly rooted in the nineteenth century: after all, his most celebrated repertory pieces were Liszt’s Sonata in B minor, Spanish Rhapsody, and Totentanz. Much of the playing of Bartók’s piano music in the first decades after his death was driving and percussive; however, Bartók’s own pianism, of which there is extensive recorded documentation, was flexible, colorful, and witty, and sometimes the hands of this contemporary of Rachmaninoff, Hofmann, Friedman, and Nyiregyhazi are not quite together. More recently, some members of what is now the middle generation of pianists, including Peter Serkin, Garrick Ohlsson, Zoltan Kocsis, Yefim Bronfman, and Andras Schiff, among others, have rediscovered the possibilities of the composer’s own not so aggressively “modern” approach.
Bridge
Authors: Steinberg Michael 
Published: November 2023

Abstract
Bridge began work on his Concerto elegiaco in the fall of 1929, completed the score on 25 May 1930, and was done with all revisions on 29 June that year. One of those revisions had to do with the title: to strengthen the point that he wished this composition to be understood as a protest against war, Bridge decided to call it Oration, with Concerto elegiaco to follow as subtitle in parentheses. The first performance was given in Using some material that goes back to 1854 and was originally intended for other purposes and designs, Brahms completed his Piano Concerto No. 1 early in 1858, but continued to tinker with details of the first movement even after the first performances. With Joseph Joachim conducting the Hanover Court Orchestra, where he had a royal appointment as concertmaster, Brahms played a reading rehearsal on 30 March 1858 and gave the first public performance with the same partners on 22 January 1859. No one should be deprived of the pleasure of knowing that the first performance in England (apparently an excellent one) was by a Miss Baglehole (first name not given).
Bruch
Authors: Steinberg Michael 
Published: November 2023

Abstract
Bruch’s G-minor Concerto, part of whose music goes back to 1857, was completed in 1866 and first performed on 24 April that year by Otto von Konigslow, with the composer conducting. Bruch substantially revised the Concerto with the help of Joseph Joachim, who reintroduced it in its present form on 5 January 1868 in Bremen, Karl Martin Rheinthaler conducting.
Dvorak
Authors: Steinberg Michael 
Published: November 2023

Abstract
Dvorak began the first movement of his Cello Concerto in New York on 8 November 1894. Unusually for him, he worked on sketches and the full score simultaneously, beginning the latter on 18 November. He completed the work “Thanks be to God on 9 February 1895, on the day of our [son] Otai ‘ek’s birthday, Saturday in the morning at half past eleven.” On the last page of the autograph there is a note in Dvorak’s hand: “I finished the Concerto in New York, but when I returned to Bohemia I changed the end completely to the way it stands here now. Pisek, 11 June 1895.” His wife’s sister, Josefina Kaunitzova, with whom he had once been deeply in love, had died, and the new sixty-measure coda, of which more below, was his response to her death. Dvorak intended his Cello Concerto for Hanus Wihan and dedicated it to him, but the first performance was given by Leo Stern with the London Philharmonic Society at Queen’s Hall, London, under the composer’s direction on 19 March 1896.
Elgar
Authors: Steinberg Michael 
Published: November 2023

Abstract
Elgar wrote the moderato theme of the first movement on 23 March 1918, immediately after returning home from the hospital, where he had undergone a tonsillectomy. He began concentrated work on the score that July and completed it on 3 August 1919. The first performance took place in Queen’s Hall, London, on 26 October 1919, the composer conducting the London Symphony and with Felix Salmond as soloist. The score is dedicated to two dear friends of Elgar’s , Sidney and Frances (misprinted Francis in the Novello score) Colvin, Sir Sidney then being Keeper of Prints and Drawings at the British Museum. Elgar authorized the violist Lionel T ertis to make a transcription of this work for viola and orchestra.
Grieg
Authors: Steinberg Michael 
Published: November 2023

Abstract
Grieg began his Piano Concerto in June 1868 and completed the score early the following year. Edmund Neupert was the soloist at the first performance, which took place in Copenhagen on 3 April 1869, with Holger Simon Paulli conducting the orchestra of the Royal Theater. Grieg revised the Concerto many times, in 1872, 1882, 1890, and 1895, sending his last set of changes (including the addition of third and fourth horns) to his publisher on 21 July 1907, six weeks before his death. What is generally heard nowadays is an edition prepared in 1917 by the Australian composer and pianist Percy Grainger that includes still further changes Grainger said had been authorized by Grieg; Grainger had studied the Concerto with Grieg, who declared that Grainger would play it better than anyone. Most of these revisions affect the orchestration and details of performance directions rather than the work’s shape or thematic material.
Hindemith
Authors: Steinberg Michael 
Published: November 2023

Abstract
Hindemith began this Concerto in the early summer of 1940 and completed its three movements on 30 June, 4 July, and 9 September that year, all at Lenox, Massachusetts. He was on the faculty of the Berkshire Music Center, which held its first session at Tanglewood that summer. With Serge Koussevitzky conducting the Boston Symphony, Gregor Piatigorsky gave the first performance at Sanders Theater, Cambridge, Massachusetts, on 6 February 1941.
Lalo
Authors: Steinberg Michael 
Published: November 2023

Abstract
Lalo wrote the Symphonie espagrwle in 1874 for Pablo de Sarasate, who introduced the work in Paris on 7 February 1875, with Edouard Calonne conducting. Lalo’s family had been military people ever since moving from Spain to Flanders in the seventeenth century, and Desire-Joseph Lalo, who was decorated artistic credo; my independence both from the criteria of the traditional avantgarde and from those of fashionable post-modernism. The musical illusions so important to me are not pursued as an end in themselves, but rather form the foundation of my aesthetic considerations. I favor musical forms that are less process-like and more object-like. Music as frozen time, as an object in an imaginary space that is evoked in our imaginations through music itself. Music as a structure that, despite its unfolding in the flux of time, is still synchronistically conceivable, simultaneously present in all its moments. To hold on to time, to suspend its disappearance, to confine it in the present moment, this is my primary goal in composition.
Liszt
Authors: Steinberg Michael 
Published: November 2023

Abstract
Sketches for this Concerto go back to about 1830, and Liszt worked on the score in the late 1840s and again in 1853. Still more revisions of detail followed the premiere, which took place at Weimar on 17 February 1855 with the composer at the pianist and Hector Berlioz conducting. Liszt dedicated the work to the pianist, composer, and publisher Henry Litolff.
Lutoslawski
Authors: Steinberg Michael 
Published: November 2023

Abstract
Lutoslawski wrote his Cello Concerto in 1970 on commission from the Royal Philharmonic Society of London and the Calouste Gulbenkian Foundation. On 14 October 1970, in London, Mstislav Rostropovich gave the first performance, with Edward Downes conducting the Bournemouth Symphony Orchestra. The Concerto is dedicated to Rostropovich. Stravinsky’s death in 1971 brought about a huge change in the musical landscape. It was a tremendous loss for us to come to terms with. He was the last survivor of the generation of Schoenberg, Ives, Ravel, Bartók, Webern, and Berg, and among those who made up the new constellation of senior com- At the urging of the great Polish violinist Bronislaw Huberman and drawing on material from his film scores for Anthony Adverse and Another Dawn (both 1936), The Prince and the Pauper (1937), and Juarez (1939), Korngold composed his Violin Concerto in the summer of 1945, completing the orchestration that October. The first performance was given on 15 February 1947 by Jascha Heifetz with Vladimir Golschmann and the Saint Louis Symphony. The work is dedicated to Alma Mahler-Werfel.
Mendelssohn
Authors: Steinberg Michael 
Published: November 2023

Abstract
Felix Mendelssohn was the cherished crown prince in his cultured, prosperous, and seemingly happy family.1 It was the blessed lot of such well-to-do young men to be sent on an educational grand tour. Mendelssohn’s lasted a year and took him via Munich and Vienna to Italy (Venice, Florence, Rome, Naples, Rome again, Florence again, and Milan), Switzerland, Munich for a second time, Paris, London, and so home to Berlin.
Perle
Authors: Steinberg Michael 
Published: November 2023

Abstract
Nielsen completed this Clarinet Concerto, his last work for orchestra, on 15 August 1928. Aage Oxenvad, for whom he had written it, gave the first performance in Copenhagen on 2 October 1928 with the composer conducting. This concerto, of which it is hardly too much to say that it is a piece for an actor who happens to play the clarinet wonderfully, is altogether the generosity of Mrs. Paul L Wattis, this Concerto v,as commissioned for Richard Goode by the San Francisco Symphony. The commission was to honor Herbert Blomstedt, then the orchestra’s music director. Perle completed the composition on 20 May 1990 and finished the orchestration that fall. The first performance was given on 24 January 1991 by Richard Goode with David Zinman conducting the San Francisco Symphony. Last ten years showed that he could live that principle as well as write a great symphony about it. He died at sixty-six, hardworking to the end. His funeral was a great public event, like Verdi’s , but it would not be until after World War II that his music, so unlike any other in sound and personality, came to be known abroad.
Prokofiev
Authors: Steinberg Michael 
Published: November 2023

Abstract
Glazunov, the director, received copies of the score specially printed and bound for the occasion.
Prokofiev left Russia in the aftermath of the Revolution. He first came to America, then tried living in the Bavarian village of Ettal, and finally, in the early fall of 1923, settled in Paris. His return to his homeland was a slow process, beginning with a visit in 1927 and concluding when he and his family settled in Moscow in 1936. The success particularly of Romeo and Juliet and the Fifth Symphony made him a hero in his old/new country, but it did not protect him from brutal bullying at the hands of the Central Committee of the Soviet Party and Commissar Andrei Zhdanov in the last years of his life. He died a discouraged and broken man, worn out by several years of heart troubles, and just too soon to be able to rejoice in the news of Joseph Stalin’s death.
Ravel
Authors: Steinberg Michael 
Published: November 2023

Abstract
Joseph-Maurice Ravel was born in Ciboure near Saint-Jean-deLuz, Basses-Pyrenees, on 7 March 1875 and died in Paris on 28 According to the critic Gustave Samazeuilh, some of the music of the first and third movements of this Concerto originated about 1914 in an unfinished score for piano and orchestra titled Zaspiakbat (Basque for “the seven are one”). Ravel originally intended to play the Concerto itself on his 1928 American tour, but as things turned out, he only began work on the score in 1929. The next plan was for him to give the premiere in March 1931 with Willem Mengelberg and the Amsterdam Concertgebouw Orchestra, but the project was delayed when Ravel received and immediately got to work on a commission to write a concerto for piano lefthand for the Austrian one-armed pianist, Paul Wittgenstein. Only after that was accomplished in 1930 did Ravel return to “his” concerto, completing it Sergei Vasilievich Rachmaninoff was born at Semyonovo, district of Starorusky, Russia, on 1 April 1873 and died in Beverly Hills, California, on 28 March 1943.
Reger
Authors: Steinberg Michael 
Published: November 2023

Abstract
Johann Baptist Joseph Maximilian Reger was born at Brand in the Upper Palatinate, Bavaria, on 19 March 1873 and died in Leipzig on 11 May 1916. Reger began work on his Piano Concerto at the beginning of June 1910. By the 30th of that month, the first movement was already being typeset and the second movement was complete in draft. The second movement was fully written out by 5 July, ready to go to the printer three days later. On 13 July the finale was “half finished,” had “prospered enormously” by the next day, and was completely finished on the 16th. Frieda Kwast-Hodapp, to whom the score is dedicated, gave the first performance on 15 December 1910 with the Leipzig Gewandhaus Orchestra under Arthur Nikisch. There had been a public dress rehearsal the day before.
Saint-Saens
Authors: Steinberg Michael 
Published: November 2023

Abstract
Feel as though you must faint if they go on any longer and which are cut off just in time by a reviving forte; none of those arpeggios that titillate every nerve in your body; none of those fortissimi that shatter your arms and legs as though you had flung yourself headfirst into the breakers, of those writhings, that tossing of the head and shaking of the locks, all of which adulterate the purity of music with the sensuality of dance Saint-Saens had no trace of any of that in his playing. But it was regal. [A great actor’s ] gestures and voice are decanted with such delicacy, with both gold and dross so finely filtered, that we are left with the impression of pure water through which we can see perfectly. Saint-Saens’s playing has attained just that purity and transparency. We see Mozart’s concerto not through a stained-glass window or the by glow of footlights, but, as it were, through air separating us from our table or from a friend, an air so pure that we do not notice it.
Schoenberg
Authors: Steinberg Michael 
Published: November 2023

Abstract
Composer exploits these properties-he needs them, if you will--in working out his composition. His choice of ordering, therefore, is personal, not arbitrary. Composing in this way does not determine a sound or a style. Schoen berg does not sound like Berg, and neither one sounds like Webern or Sessions or Dallapiccola or Babbitt. Webern already was Webern and sounded like Webern before his first twelve-tone pieces, and Stravinsky continued to sound like Stravinsky after he began to use this way of inventing music.
Schumann
Authors: Steinberg Michael 
Published: November 2023

Abstract
Robert Schumann was born in Zwickau, Saxony, on 8 June 1810 and died, insane, at Endenich, near Bonn, on 29 July 1856. Some reference works give him a middle name, Alexander, but that is a fiction. Schumann composed his Cello Concerto, which he listed in his own catalogue as a ‘ ‘Concertstuck ‘ ‘ for cello and orchestra, between 1C and 24 October 1850, but the first performance was posthumous, given by Ludwig Ebert at the Leipzig Conservatory on 9 June 1860 at a concert in honor of the composer’s fiftieth birthday. In 1966 Dmitri Shostakovich arranged this work as a violin concerto; in 1986 a similar transcription by Schumann himself, presumably made for Joseph Joachim, came to light among the Joachim papers at the Prussian State Library, Berlin.
Sibelius
Authors: Steinberg Michael 
Published: November 2023

Abstract
Sibelius began his Violin Concerto in September 1902, completed the work in short score-that is, with the orchestration worked out but not written down in detail-in the fall of 1903, and finished the full score around New Year’s , 1904. The first performance was given at Helsingfors (Helsinki) on 8 February 1904, with Victor Novacek as soloist and the composer conducting the Helsingfors Philharmonic. Sibelius withdrew the work for revision, a task he accomplished in June 1905. In its new and present form, the work had its premiere in Berlin on 19 October 1905, with Karl Halir as soloist and Richard Strauss on the podium. his Violin Concerto in 1930 in Rome, continuing the following year at Lutjenberg, a resort on the Baltic Sea, and in Berlin and Hamburg. He wrote the second and third movements over the next two years, for the most part in Berlin, though he finished the third movement in Massachusetts.
Tchaikovsky
Authors: Steinberg Michael 
Published: November 2023

Abstract
Piotr Ilyich Tchaikovsky was born on 7 May 1840 at Votkinsk in the district of Viatka, Russia (now in the Udmurt Republic), some 700 miles east-northeast of Moscow, and died in Saint Petersburg on 6 November 1893. Tchaikovsky composed his Piano Concerto No. 1 in November and December 1874, completing the orchestration on 21 February 1875. He made some revisions in 1876 and 1889. Hans van Bulow gave the first performance at the Music Hall in Boston on 25 October 1875, B. J. Lang conducting. The orchestra was a freelance group, though largely carresponding to that of the Harvard Musical Association. The Boston Symphony Orchestra was founded six years later, and at various concerts in 1883 and 1885, B. J. Lang, the conductor of the premiere, was the first pianist to play the concerto with the new orchestra.