bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ensembles
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
In 1867, the year of his tenth birthday, Edward crossed the river and returned to Broadheath. There he spent a summer holiday with old friends of his family.And this return to the Better Land of his own beginning brought about the real entry to what he had longed for in the reeds on the city side of the Severn. For it was linked ever afterwards in his memory with the first dated music he actually wrote.
The Black Knight
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
Any hope for an easy acceptance of Edward’s engagement to Alice vanished as soon as the families heard of it. In later years their daughter wrote: The news brought cries of horror from the Roberts [aunts] & Raikes [cousins] (with the notable exception of Mr. & Mrs. W. A. Raikes and her mother who lived in Norwood and were always most helpful). They said he was an unknown musician; his family was in trade; and anyway he looked too delicate to live any length of time. One of the aunts was going to leave Alice a substantial sum, but on hearing the news, she forthwith cast her out of her will altogether.
With Distinction (1876-1888)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
Albeniz now entered a period of his life devoted to serious and persistent study. Angel clearly understood that if the youth were to make the transition from child prodigy to mature artist, he would have to submit himself to a more disciplined path. The decision to study in Leipzig was logical, given the enormous prestige German music, musicians, and music schools enjoyed. How father and son imagined, though, that even so adaptable and clever a young man as he could survive in a country where he could not speak the local language, and few could speak his, is a mystery. But the famous con servatory held an irresistible lure, and it was in that direction Albeniz determined to go.
D’India the Peripatetic
Authors: Watkins Glenn 
Published: November 2023

Abstract
Despite a rich chain of evidence to the contrary, it is frequently asserted that the birth of solo song coincided with the arrival of the Baroque. Even allowing for the special circumstances that prompted the renewal of solo singing towards the end of the sixteenth century, it is an especially confusing judgement that links its ascension at the dawn of the Baroque with the supposed demise of outworn polyphonic forms, figures, and textures. In addressing the dilemmas of similar stereotypes throughout the range of music history, musicologists have for some time been preoccupied with promoting a sense of continuity in those periods characterized by striking aesthetic shifts. If this desire to acknowledge formal and expressive reciprocity inevitably conscripts uncertainty in the location of a boundary line, the madrigal has none the less provided an exemplary testing ground. Although Monteverdi’s significant status and justly acclaimed achievements in the domain of madrigal and opera have promoted both genres as ideal for observing the transferral of late Renaissance polyphonic techniques to early Baroque form and expression, the need to evaluate similar exchanges between generic and stylistic categories in the work of his contemporaries stems from the contention that no single figure ought to be required to stand for an age; that, indeed, only to the extent that the impulse is discoverable in the works of others can the dimension as well as the importance of such achievements be properly assessed. The music of Sigismondo d’India (born c.1582, died before 19 April 1629) offers an excellent opportunity for evaluating such questions. Nigel Fortune and Federico Mompellio were the first to pique our curiosity about this musician, laying the foundation for all work that followed.
Resemblance and Representation: Towards a New Aesthetic in the Music of Monteverdi
Authors: Carter Tim 
Published: November 2023

Abstract
By the mid-1620s, Claudio Monteverdi had been maestro di cappella of St Mark’s, Venice, for over a decade. He was widely recognized as the leading composer in Italy, was head of a prestigious musical establishment, and was supported by gifted assistants who could carry the day-to-day burdens of administering, rehearsing, and directing music in the Basilica. As the composer entered middle age, his thoughts turned to more relaxing endeavours. There was still the unfinished business of the treatise he had (perhaps foolishly, he now felt) promised Artusi in his famous polemic with the Bolognese theorist in the early 16oos—we know that the treatise was still on his mind from two letters to Giovanni Battista Dani written in 1633-41—but Artusi had died in the year Monteverdi moved to Venice (I 6I 3), and the composer claimed the satisfaction of seeing him reconciled with the modernist position.
On the Origins of an Operatic Topos: The Mad-Scene
Authors: Fabbri Paolo 
Published: November 2023

Abstract
The Venetian poet and librettist Giulio Strozzi (1583-1652) exploited the theme of feigned madness at least twice on the musical stage: in La finta pazza (1641) written for Francesco Sacrati (the long-lost opera rediscovered by Lorenzo Bianconi); and in Licori finta pazza innamorata d’Aminta, a text offered to Claudio Monteverdi more than a decade earlier. The latter is mentioned for the first time in Monteverdi’s letter of 1 May 1627 (L. 91 [92]).1 On 2January 1627 (L. 89 [90]), Monteverdi had noted that on a visit to Venice the Mantuan singer Francesco Campagnolo raised the possibility of a commission for the composer from Mantua: This should probably be associated with the forthcoming coronation of Duke Vincenzo II Gonzaga. Monteverdi made a number of suggestions, including ‘a little play by Signor Giulio Strozzi, very beautiful and unusual, which runs to some 400 lines, called Licorifinta pazza innamorata d’Aminta, and this—after a thousand comical situations—ends up with a wedding, by a nice touch of strategem’ (L. 91 [92] ).
The Making of Alcina
Authors: Dean Winton 
Published: November 2023

Abstract
Alcina was the most successful of Handel’s later operas, with eighteen performances in its first season (April-July 1735), three in November 1736, and two in June 1737. It is also by common consent one of the finest, and it has enjoyed much success in recent years, especially since the first modern British revival by the Handel Opera Society (with Joan Sutherland) in 1957. The opera has many attractions for audiences: quite apart from the quality of the music, it is (or should be) very spectacular in the theatre. Unlike most of Handel’s operas, it employs all four vocal ranges, including a grateful tenor part and only one castrato; and the texture is varied by four true choruses (not mere ensembles for the soloists) and some captivating dances. The story, based on an episode in Ariosto’s epic poem Orlando furioso (Cantos v1-vn), is sufficiently familiar not to require a full summary here. The knight Ruggiero, held in thrall by the sexually voracious enchantress Alcina on her magic island, is rescued by his betrothed Bradamante, disguised as her warrior brother, and his old tutor Melissa by means of a magic ring, which opens his eyes to the true nature of his paramour. Alcina’s former lovers, whom (like Circe) she has changed into animals, rocks, and trees, are restored to their human shape, and the enchanted island withers to a desert. A subsidiary plot concerning a desultory love affair between Alcina’s general Oronte and her sister Morgana serves as an effective foil to the relationship of the central characters. The opera is dominated by the towering figure of Alcina, a genuinely tragic heroine, whose powers, hitherto invincible, cannot in the last resort command the love of the mortal with whom she is infatuated.
Manuel García (1775–1832)
Authors: Radomski James 
Published: November 2023

Abstract
This is the first comprehensive biography of one of opera history’s most glorious Spanish tenors. Apart from being renowned as the opening-night tenor in Rossini’s Barber of Seville, García was an important popularizer of other Rossini roles as well as those of Mozart (in particular, Don Giovanni) in Paris and London during the 1820s. As one of the first intercontinental superstars, Garce directed the initial professional Italian opera performances in New York City in 1825 and in Mexico City in 1827. Apart from his extraordinary singing career, García was also an important composer. His early operettas were extremely popular in Madrid, his II califfo di Bagdad achieved success in Naples and Paris, and his La mort du Tasse was premitred at the Paris Opera. García’s Spanish compositions, in particular, had an impact on French Romantics such as George Sand and Victor Hugo, and ultimately influenced the music of Bizet’s Carmen. As a singing teacher, García was beyond comparison. Foremost among his many successful pupils were the tenor, Adolphe Nouritt, and his three children, Maria Malibran, Pauline Viardot- García, and Manuel Patricio García. James Radomski gathers, for the first time, all pertinent information surrounding García and sets vividly the operatic scene of the period. The musicians life is chronicled from his earliest years in Seville until his death in Paris in 1832. With substantial reference to previously undiscovered reviews and letters, this biography also includes discussions of Garcia’s compositions and teaching through musical examples and illustrations.
Début in Madrid, 1798–1799
Authors: Radomski James 
Published: November 2023

Abstract
By April 1798, Manuel García and Manuela Morales were in Madrid for the new season of the company of Francisco Ramos. The Madrid theatre season began each year on Easter Sunday and ran until the following Ash Wednesday. ‘spiritual concerts’ or oratorios substituted opera and theatre performances during the Lenten season.
The earliest mention of García’s arrival is in a rough draft of the company list in which García appears as ninth galán (i.e. ninth in rank among principal male singers). When the list was finally published in the Diario de Madrid (as it was each year) on 7 April 1798, García was listed as eighth galan ‘to sing in the three companies ‘and Manuela Morales as fourth dama. Next to the name of each, in italics, is printed: ‘(de Cádiz)’. The composer of the company was Blas de Laserna, an important contributor to the tonadilla repertoire.
Establishing a Career: Paris (1807–1811) and Italy (1812–1816)
Authors: Radomski James 
Published: November 2023

Abstract
There exists in the Archivo de Osuna1 a valuable collection of letters between García and the Duchess of Osuna (the same who figures in the well-known paintings by Goya) which capture the circumstances of García’s exodus to Paris, the centre of European culture at the time (Plate 7). The first was sent from Bayonne, one and a half months after his departure from Madrid.
Return to Paris, 1819–1823
Authors: Radomski James 
Published: November 2023

Abstract
García returned to Paris for the premiere of Il barbiere di Siviglia on 26 October 1819.1 The next day’s review records the work’s poor reception -which is now history.
The Barber of Seville, with music by Rossini, was given this evening [October 26] for the return of García, who was seen again with much satisfaction. Where we were strangely deceived was in that this opera did not respond to the expectations one had for it. It was received rather coldly, and all the talent of the singers, all the ability of the orchestra did not seem to serve but to adorn a rather sterile luxury, a painful, over-worked composition, devoid of melody, and in which one could not notice but a small number of piquant passages which made a pleasant effect. It is assured, however, that this composition, as all of those of its author, has caused what in Italy is called a ‘furor ‘.
Mexico, 1826–1829
Authors: Radomski James 
Published: November 2023

Abstract
García, his wife, son Manuel, and daughter Pauline, sailed from New York for Veracruz on 16 October 1826, in the brig Brown.1 Maria remained behind in New York for one more season. Although the Harmonicon had made mention, in April, of an invitation to go to New Orleans, it seems that García went directly to Mexico. This is supported by the fact that when he applied for a passport on 28 February 1828, García affirmed having resided precisely one year and four months in Mexico.
García—preceded by his reputation—was eagerly awaited by Italian opera lovers in Mexico. Yet he was to find himself in a delicate position. Not only was he to confront the bureaucratic problems of theatre management, with which he was by now all too familiar, but also he entered Mexico at a moment of great political turmoil, at the heart of which was a bitter controversy over the position of Spanish nationals in the nascent republic which only five years earlier had won its independence.
Last Year and Death, 1831–1832
Authors: Radomski James 
Published: November 2023

Abstract
Having to step down in the performance of Don Giovanni on 23 December 1829 was doubtless a blow to García, who finally had to come to terms with the fact that he was not the singer he used to be. Nevertheless, it is very unlikely that he was ‘old and bitter’ as romanticized by the writer, and personal friend of Maria Malibran, Ernest Legouve. García’s character was too resilient and he was too much of a hard worker to allow himself the time for such thoughts. García was, however, in need of a rest and was probably glad to be able to devote all his energies to teaching. Teaching was not, for him, a condemnation-something to do to make money after losing his voice. He had given much time to teaching even at the height of his performing career. It was as satisfying for him as singing on-stage, if not more so, given the fact that he could be in control of the enterprise and avoid the chaos that theatrical bureaucracies inevitably brought with them. And García would still be in the mainstream of operatic currents, delighting in the Débuts of his proteges. Nothing suggests that García ended his life in a dimmed aura of defeat or depression. On the contrary, he undertook the role of teacher and mentor with characteristic passion and dedication.
Aftermath: The Memory and Legacy of García
Authors: Radomski James 
Published: November 2023

Abstract
Manuela Morales and her children seemed to have received some justice, at least, after García’s death. The children of Joaquina Briones went on to make history. Briones quickly took up the matter of promoting the careers of her two daughters. With regard to Pauline, she probably had an influential role in the actual training of the voice. After Maria’s death on 23 September 1836, Joaquina travelled with Pauline and retired to the chores of grandmothering and housekeeping, eventually moving to Brussels, where she died in 1864.
The Orphic Jacob
Authors: Wegman Rob C 
Published: November 2023

Abstract
Eight lines of Latin poetry hold the key to Jacob Obrecht’s origins. They were written by the composer himself, and have survived together with the music to which he set them: the motet Mille quingentis. The poem gives two crucial items of biographical information: Obrecht’s father was called Guillermus, and he died in 1488. This was enough for the Belgian historian Berten De Keyzer, in 1953, to identify the man in documents from the city archive in Ghent.1 Civic pay records establish that a Willem Obrecht worked as a trumpeter in that city from 1452 until his death in 1488. To confirm the identification, the only offspring mentioned in documents concerning his estate is ‘meester Jacop Hobrecht priestre’.
Born for the Muses
Authors: Wegman Rob C 
Published: November 2023

Abstract
At the age of 2, Jacob Obrecht had a secure future virtually mapped out for him. The inheritance of his mother alone would eventually guarantee him a regular income of 540 groats per year—at a time when one groat per day represented an acceptable living standard. And although no documentation survives on the financial situation of his father, surely he was to leave him a similar legacy: Willem Obrecht could not have married two daughters of well-to-do citizens if he himself brought no commensurate capital to the marriage.
Towards a New Language
Authors: Wegman Rob C 
Published: November 2023

Abstract
Obrecht’s mature style seems to have emerged quite suddenly in the late 1480s; watermark evidence indicates that it had reached full bloom by 1491-3, with such works as Fortuna desperata and Rose playsante. The idiom in these and other mature works is so distinct from everything we have seen so far that a break with the past rather than a smooth transition must be suspected. This major turning-point in Obrecht’s creative career cannot be dated with accuracy, but several influences and pressures may have co-operated to bring it about: the fundamental reconsideration of his stylistic premisses during the critical phase (1486-8), fresh impulses from the Ferrarese musical environment (1487-8), and the increased demand for new mass settings that he faced on his return to Bruges in 1488 (see Ch. 6).
Marriage (1750)
Authors: Howard Patricia 
Published: November 2023

Abstract
After the performances of Ezio during the carnival season of 1749–50, Gluck’s activities are again uncharted. At least a portion of the summer months of 1750 would have been devoted to preparing for his wedding. Exactly when Gluck met his future wife, Maria Anna Bergin (or Pergin), is not known. Such a meeting may have occurred as early as 1748. Schmid handed down a family tradition that Gluck did indeed meet Marianne (as she is always known) in this or the following year, but that the marriage was forbidden by her ambitious father, the wealthy merchant Joseph Bergin, on whose death Gluck ‘flew on the wings of love’ to Vienna to claim his bride.1 More recent research has shown that if opposition there was, it must have come from Marianne’s guardian, Joseph Salliet, since Joseph Bergin died in 1738.2
Alceste (1767–1769)
Authors: Howard Patricia 
Published: November 2023

Abstract
When Gluck visited Florence in February 1767, Alceste was already finished. He may well have played portions of it to Archduke Leopold, whose interest from an early stage is implied in the celebrated dedication of the score. A letter from Calzabigi written in March of that year shows that the new opera was complete and its performance expected soon. Calzabigi addresses the imperial chancellor Prince Wenzel Anton Kaunitz, his employer and patron, who, after Durazzo’s resignation on I April 1764, had taken a leading role in protecting both the interests of the French company at the Burgtheater and Gluck’s and Calzabigi’s operatic innovations.1
Negotiations at a Distance (1778)
Authors: Howard Patricia 
Published: November 2023

Abstract
We arrived here safely yesterday afternoon, after enduring much hardship on the journey; the coach and its wheels broke and stuck in the snow, and suffered every possible disaster. Moreover I have arrived here at the wrong time; everyone is preparing for war, which it will be difficult to prevent.1 am sending you a letter for Mlle Levasseur, together with the ring, which I ask you to give soon to M. Zoller so that he can insert the stone; give him our compliments. When the ring has been cleaned and repaired, please give it to Mlle Levasseur, together with the letter.2
Symphony No. 1 (-25 November 1759)
Authors: Haimo Ethan 
Published: November 2023

Abstract
Although some evidence indicates that the Symphony in D major Hob. I: i, might be Haydn’s first symphony,1 much uncertainty remains about the dating of this and many other early works.2 In any event, it is undoubtedly one of Haydn’s earliest symphonies and as such is a good example of his compositional technique at the initial stages of his career.
Symphony No. 75(–1781[?1779])
Authors: Haimo Ethan 
Published: November 2023

Abstract
None of the symphonies analyzed thus far has begun with a slow introduction or ended with a rondo—until 1770 both features were rare.1 In works composed after that point, one encounters, with increasing frequency, slow introductions to the first movements and rondos as finales. Symphony No. 75 has both.
Symphony No. 99 (1793)
Authors: Haimo Ethan 
Published: November 2023

Abstract
In 1794, Haydn returned to England for his second visit. In preparation for this trip, and during the course of his stay, he wrote the last six of his symphonies. Of these, Symphony No. 99 appears to have been the first one composed, written not in London, but in Vienna before his departure.1
Texts Musical Form and Dramatic Impact
Authors: Hurley David Ross 
Published: November 2023

Abstract
It is certainly true that many of Handel’s decisions concerning the basic formal structures of arias and choruses often must have occurred before he began actual composition, thus belonging to that vast realm called, ironically enough, ‘precompositional activity’. However, pre-existent material-which in Handel’s case amounts to two items: musical borrowings and the libretto apparently had far less influence on him than on Bach in regard to the musical forms ultimately chosen. This is unquestionably the case with the borrowings. As we have seen from a number of previous examples, the musical model rarely seems to affect the form of the work based upon it; form represents one of the avenues through which Handel repays borrowings with interest. The role of the libretto in the generation of musical forms is, in Handel’s case, a more complicated issue, however: to a degree the text helps define his musical forms, but he exercised some control over the text. In order to elucidate revisions of musical form, it is clear that something must be said about Handel’s attitude towards and treatment of libretti.
Singers and the Creative Process
Authors: Hurley David Ross 
Published: November 2023

Abstract
English singers and those acclimatized by a long stay in England were not stars like the Italian opera soloists, and they could not make the unyielding demands of such stars. Opera was, and continued to be, a musical star performance. It was the brilliant singing, not the dramatic entity, which supported it. Oratorio had another aim. Sustained by an all-embracing idea, it had the right to demand that the soloists and the choir subordinated themselves to this idea. It was impossible to demand this subordination of the Italian opera stars; they were accustomed to prominence, not to submission. To continue to use them in oratorio would have placed considerable obstacles in the way of fulfilling this demand.
Music and Ritual at Charles the Bold’s Court: The Function of Liturgical Music by Busnoys and his Contemporaries
Authors: Brown† Howard Mayer 
Published: November 2023

Abstract
Shortly after Charles the Bold became duke of Burgundy, he had drawn up a detailed set of regulations concerning the organization of his household. These ordinances offer the most detailed information we have about the people who worked for the court, and what duties they were required to perform. We learn from these ordinances of 1469 about the members of Charles’s kitchen staff, his heralds at arms, his secretaries, financial administrators, gentleman pages, and so on.
From Social Disciplining to Spiritual Recreation
Authors: Kendrick Robert L 
Published: November 2023

Abstract
To understand the evolution of Carlo Borromeo’s actual policies and their effects on music, it is almost misleading to begin with the decisions at Trent. The discussion of male and female monastic life was hurried through during Session XXV, almost at the end of the proceedings in I 563. But Giovanni Morone’s ambitious plans for the reform of the religious orders provoked passionate opposition, and the vagueness of the final conciliar rules, including the prescriptions for nuns, marked the sharp differences that continued even after the Council’s end. The disagreement over sisters’ liturgy was occasioned by a set of radical proposals, drafted by Gabriele Paleotti, which would have excluded all music but chant.