bluuebunny/crossref_metadata_2025_split huggingface dataset:
The ancestry. Keyboard concertos before mozart
Authors: Hutchings Arthur 
Published: November 2023

Abstract
In his fifth deal of ‘Brandenburg’ instruments, Bach raises the continuo player to chief performer. It is notable that the bass of the harpsichord part is figured only where the right hand stave is empty; it is therefore probable that the functions of Cembalo Concertato and Cembalo Continuo were invested in one keyboard; it is also possible, but not probable, that Mozart’s audiences remembered seeing a continuo player doing his duty even when a clavier soloist was to the forefront. Mozart’s clavier remembers its humble origin, though its memory fades until in the last three concertos it sometimes fails to provide its own bass. But in Mozart solo and orchestra are in mutual liaison. It is mistaken to declare that, in concerto, Beethoven set the orchestra free. He set the piano free--so free that players long for support while practising. The Mozartian performer, doubling orchestral bass as he should when not playing a concertante section, rattling away in memory of Domenico Alberti, or arpeggiating orchestral harmony, is not an accompanied soloist; he is sparring partner to the band. His part never anticipates that of the Grieg Concerto, which one can play at home quite happily without a pocket orchestra or a second piano.
Movements In Variation Form
Authors: Hutchings Arthur 
Published: November 2023

Abstract
Of all movements longer than a song or dance, the set of variations is the most democratic, for the simple can follow its high roads while the musically learned investigate its subtleties. In a variety entertainment a set of easy but showy variations gets applause from both the impressed and the amused; queues for Queen’s Hall concerts in prewar days had many a copper charmed from them by a great natural artist, an unshaven Haydn called Old Moke, whose virtuosity upon the penny-whistle reached its climax with a set of variations on ‘Pop goes the Weasel’.
1782. Early Vienna Concertos
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The following remarks summarize the most important developments to be observed in the 1782 concertos: 1. The first of the three concertos, K. 413 in F major, despite the advance in workmanship, shows a retrogression in style from the last Salzburg works, particularly K. 271 in E flat. We must seek some explanation.
Concerto In E Flat, K. 449
Authors: Hutchings Arthur 
Published: November 2023

Abstract
Mozart and his newly married wife were found at various addresses, and he had become the favourite piano player in the capital. The years 1784-6 must have been among his happiest; he enjoyed acceptance as a virtuoso, the new married life, the success of The Seraglio, in Vienna and many other cities, the stimulation of the six quartets he was dedicating to Haydn, and the interest of the older contrapuntal music, particularly of Bach and Handel, which was favoured at Baron van Swieten’s Sunday ‘academies’. His wife urged him to write fugues. He gave private concerts. He held a ball in one of his lodgings, and we may read a list of names of the lions who graced it.
Concerto In B Flat, K. 450
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The second of the group of three, K. 449-5 I, was written less than five weeks after its predecessor, so the work needs no extra bio graphical notes. Mozart’s letter explaining that the wind parts were essential to its performance, whereas K. 449 could e played with strings alone, should not lead us to suppose that it is the more interesting work orchestrally; the strings in the E flat work are used as never before in a concerto-far more passionately and colourfully than in this work, which is essentially for the keyboard virtuoso, for Mozart himself and not Friiulein von Plover.
Concerto In G, K. 453
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The second of Mozart’s concertos for Barbara Ployer is one of those few concertos in the series wherein each of three movements reaches a supreme level of excellence; pejorative criticism is not always unfair when it declares that a slow movement, or a finale, is unworthy of its fellow movements in the same concerto. In on or two examples one cannot explain this fact only by the taste of Mozart’s audiences or by the necessity to write lightly after preceding movements.
Concerto In C Minor, K. 491
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The similarity of the opening theme (Ex. r57) to that of C. P. E. Bach’s Concerto in F minor (see Ex. 15 above and also the quotation here, Ex. I 55) makes one wonder if Mozart knew Bach’s fine work, which his own concerto resembles in spirit. The second of Mozart’s two concertos in a minor key is quite unlike the first in D minor; it is as passionate, but less stormy and more spacious. Of all classical concertos, it would be the most spacious were it not rivalled by K. 503 in C major or Beethoven’s in E flat.
Benjamin Britten Talks To Edmund Tracey (1966)
Authors: Kildea Paul 
Published: November 2023

Abstract
TRACEY: It is a great honour and pleasure for us to have you back at the Wells after twenty-odd years. I wonder if you could throw your mind back to the occasion of’Peter Grimes’, your first opera for the Wells: when you started to write it, had you had any sense of musical tradition or direction or did you just trust your own instinct?BRITTEN: The history of the first performance of’Peter Grimes’ at the Wells is really too well known for me to go into it now, but the actual background of the performances there is perhaps rather interesting. I did feel at that time that there was a great void in English opera. English operas had been written in the previous fifty years, but none of them meant much to me--and I had to find my own language. But I had a great piece ofluck, and that was that I was able to go to rehearsals and performances of virtually the whole of the repertoire of theWells at that time. I had friends who were singing in the Company and as I was planning ‘Grimes’ and actually writing it, I made use of the opportunity of getting to know the repertory extremely well. I learned a tremendous amount, particularly from ‘The Magic Flute’, ‘Traviata’, ‘The Bartered Bride’ and ‘The Barber ofSeville’. I felt particularly sympathetic to these, but I also learned a lot from the ones to which I was not so sympathetic. But there was something else: at that time I was very much involved with institutions like, for instance, Morley College,2 where Michael Tippett was Musical Director and we were both tremendously sympathetic to the music of Purcell, from whom I learned an enormous amount about the setting of the English language, about its rhythms, its sonorities. That gave me a greater sense of confidence and of not being quite so alone as I might have felt.
Tribute To Zoltan Kodaly (1967)
Authors: Kildea Paul 
Published: November 2023

Abstract
A great man has gone from us. Not only a great musician but a great human being, and a very contemporary one. By that I do not mean necessarily a fashionable contemporary composer-Kodaly was beyond & above that. But he was a man who was able to make sense of contemporary life. He was there. He did not avoid problems. He remained and triumphed.And out of the problems he produced solutions which have changed our way of thinking. He made sense. He lived a long life, but to the end, kept his vitality, & his faculties. In Budapest when we saw him, late in the Autumn of last year, he was as lively as I have ever seen him. He talked animatedly about musical education, Ansermet’s recent provocative essays on science & music, the Winterreise, the reaction of the present day, urban, young to folksong. He was awareness itself about the problems of contemporary art. It is difficult to realise that he is no longer among us. But what a legacy he has left. Superb choral works, the Psalmus Hungaricus, stage works which still hold the stage, Hary Janos, & excellent chamber music, and, what I perhaps personally cherish the most-a volume of two hundred pages-folk-songs, collected by him & Bartok, arranged for childrens voices. They are of an originality, simplicity yet richness, which is startling. We can all learn from these, from their beauty of sound, freshness, their multum in parvo. One is reminded of his famous words ‘nobody is too great to write for children; in fact he should try to become great enough for it.’ Not only did he leave these endless miniature masterpieces for children, but he worked for & re-planned their musical education-new methods of sight reading & vocal training, new curricula. One result of his educational efforts is that at this moment over 80 of the state schools in Hungary (& I do not mean the musical schools) have one hour’s general music period every day. And with excellent young [young] men & women to teach the youngsters-I have seen some of them at work.
Calendar and Chronology 1671–1685
Authors: Mckenzie D F , Bell Maureen 
Published: November 2023

Abstract
John Warburton to [Roger Kenyon], concerning a promise by the recipient’s brother of a stipend and a deposit of 30 s. towards Mr Poole’s Contraction of the Critticks. The book has been withheld, as has part of the promised salary. Newsletter, reporting that on the 5th the King gave order ‘for the printing of the famous manuscript of Jecla’s Bible, which was writt before our Saviour’s time, and has bin kept in his library for this many years past, of which some part is begun and in little time will all come forth, being much desierd in the world . . .’
Introduction: Modern Beginnings
Authors: Baldick Chris 
Published: November 2023

Abstract
We may begin with Ursula Brangwen, the restless heroine of D. H. Lawrence’s Women in Love (1920). She has thrown up her job as a schoolteacher and, without her parents’ blessing, hurriedly married Rupert Birkin, with whom she has begun a new life of uncharted wandering on an Alpine holiday at a hotel near Innsbruck. Passing a cowshed among the mountains, she is reminded uncomfortably of the farm on which she grew up in the English Midlands.
Modern Poetry
Authors: Baldick Chris 
Published: November 2023

Abstract
The critical priorities of ‘modernism’ in some accounts of this period’s literature have encouraged a general assumption that English poetry underwent a profound revolution between about 1910 and the mid-Twenties. Such assumptions, though, mistake revolutionary intentions for revolutionary results, confusing innovation and iconoclasm, for which there is patchy evidence, with an actual overturning of centuries-old traditions in verse, for which there is none. They also tend to rely upon a further conflation of the interconnected but still distinct tradition of American verse, which had indeed been more radically experimental, with that of verse in Britain and Ireland, which more readily obeyed the gravitational pull of tradition. One of the aims of this chapter in its brief survey of leading figures and trends in the period’s poetry is to qualify the legend of heroic modernist insurrection by placing its novelties within a larger context of continuities. Another is to propose that the salient tendency of poetic practice in England between 1910 and 1940 is not adequately to be described in terms of ‘modernism’ at all.
Modern Drama
Authors: Baldick Chris 
Published: November 2023

Abstract
New Words, 1910–1940
The widening division evident in this period between minority art and majority entertainment was most visibly entrenched in the theatre. As in the late Victorian and Edwardian periods, so in these decades the English theatre was a large and generally prosperous business offering a harmless evening’s diversion to urban middle- class audiences, principally in the forms of light comedy and melodrama. Until the advent of radio drama (1924) and of the talking pictures (1928), it still enjoyed with the music hall a comfortable duopoly of dramatic entertainment; and in London at least, it man- aged to withstand the competition of these new rivals through the 1930s while the music hall succumbed to it. The theatre was commercially strong enough to make fortunes for astute producers, and sometimes even for playwrights, but this very prosperity and institutional solidity weighed heavily against the kinds of creative risks that poets or novelists could take. Playwrights were hemmed in both by the commercial caution of theatre managers and by an official censorship that restricted the treatment of sensitive religious, political, and sexual subjects.
Modern Short Stories
Authors: Baldick Chris 
Published: November 2023

Abstract
The youngest of the recognized literary forms, and in other ways the most ‘modern’ in tendency, was the short story. Introducing her anthology, The Faber Book of Modern Stories (1937), Elizabeth Bowen highlighted this youthfulness, likening it to that of the cinema: The short story is a young art: as we now know it, it is the child of this century. Poetic tautness and clarity are so essential to it that it may be said to stand at the edge of prose; in its use of action it is nearer to drama than to the novel. The cinema, itself busy with a technique, is of the same generation: in the last thirty years the two arts have been accelerating together.
The Modern Novel: Principles and Methods
Authors: Baldick Chris 
Published: November 2023

Abstract
The next three chapters, and parts of Chapters 11 and 13, will be devoted to various species of extended prose fiction. The purpose of the present chapter is to provide a preliminary sketch of this large field, partly in order to account for the ways in which I have distributed different kinds of novels and prose romances among later chapters. Our main objects of investigation here are the idea of ‘the novel’ as understood in this period; its relation to nineteenth-century traditions; its formal principles of composition and narrative perspective as debated in novelistic theory of the 1920s; and its competing responsibilities to art and to ‘life’. I will look first at theories of the novel, and then review some modern fictions that press in various directions against the limits of novelistic construction.
The Modern Novel as Social Chronicle
Authors: Baldick Chris 
Published: November 2023

Abstract
The great Victorian tradition of realistic fiction, devoted to the study of ordinary lives within carefully specified social environments, survived vigorously into this period. Modernist fictional experiment has commanded more critical attention, but the mainstream of the English novel still lay here, inheriting from George Eliot and Thomas Hardy the recognized conventions of realism and its emphases on local community and social change.
The Modern Psychological Novel
Authors: Baldick Chris 
Published: November 2023

Abstract
The psychological novel in English has a long history going back to Samuel Richardson’s works of the 1740s. The term itself had been introduced by George Eliot in 1855, and was by the 1920s widely used in critical discussion. Novels of the special kind that concentrate on the emotional crises of a protagonist entering upon adulthood were already central to the tradition of English fiction. Although the German word Bildungsroman (variously translated as ‘novel of formation’, ‘education novel ‘ or ‘coming-of-age novel’) was not domesticated as an English term before 1910, the thing itself was prominent in Victorian literature, in Thackeray’s Pendennis (1850), Dickens’s David Copperfield (1850) and Great Expectations (1861), and George Eliot’s The Mill on the Floss (1860). Outside this particular genre of subjective fiction, there had been in the late Victorian and Edwardian periods a few distinguished novelists, most notably Henry James and Joseph Conrad, for whom the events of a novel’s action seemed less important than the characters ‘ perceptions and interpretations of them in the perplexing mazes of ‘consciousness ‘.
Modern Essays, Biographies, Memoirs, and Travel Books
Authors: Baldick Chris 
Published: November 2023

Abstract
Before the Second World War there prevailed among readers, authors, and publishers a shared conception of literature far more capacious than the restricted model of ‘imaginative’ writing that we now usually entertain. It was taken for granted that Literature included not only poems, plays, and fictional prose, but also biographies, travel books, essays, memoirs, critical studies, historical narratives, philosophical treatises, sermons, political speeches, and even scientific lectures. This breadth can be seen in the scope of the reprinted classics issued by J. M. Dent in their popular Everyman’s Library series during this period. These included, along with poetry, drama and fiction, dozens of volumes categorized under Biography, Essays & Belles-Lettres, History, Oratory, Philosophy & Theology, Science, and Travel & Topography; the number of titles published under these categories indeed outnumbered those in the Fiction list.
Modern Entertainment: Forms of Light Reading
Authors: Baldick Chris 
Published: November 2023

Abstract
A major feature of this period’s social history was the growth of leisure, particularly in the domestic realm. As middle-class suburbia expanded, countless families were served in the comfort of their well- lit homes by new kinds of leisure industry linking mass-production to private consumption. Away from the ‘mass’-entertainment venues of the cinema or football stadium, a transformation of domestic leisure was under way, one that brought standardized products and designs into the private sphere of hobby, pastime, and diversion: whether listening to radio broadcasts from mass-produced wireless sets, or to music from gramophone records, or playing the piano from sheet music, the average middle-class English family was amusing itself with pursuits that were increasingly similar to those of most others, from jigsaw puzzles to board games, from dress-making to crossword-solving. Uniform but non-communal, widely shared but reclusively housebound, this new culture of private recreation had as a central element the consumption of standardized ‘light’ reading matter.
Childhood and Youth
Authors: Baldick Chris 
Published: November 2023

Abstract
As we noted in Chapter 2, modern literary culture echoed and amplified the grievances of the young against the old, especially in the aftermath of the Great War, when many writers presented that calamity as a massacre of youth perpetrated by bloodthirsty elders. By the late 1920s, the blaming of the older generation and the praising of youth for youth’s sake had been identified by Wyndham Lewis as central problems of post-War life. Lewis’s long satire The Apes of God (1930) diagnoses the pseudo-bohemian culture of contemporary art and literature as a bogus ‘Revolt of the Children’ against imaginary ogrish father-figures, and as a melodramatic ‘child-parent-war- game’ (pp. 412, 578). Retarded by self-pitying vanity, the typical modern writer—and reader—is in Lewis’s view deeply infantilized, a Peter Pan refusing to assume adult responsibility. One minor character in Apes of God is a journalist who makes a lucrative profession from’sucking-up to the Young ‘ in articles with titles like ‘Youth at the Helm!’ (p. 290). Whether or not we follow Lewis all the way in his interpretation of the youth cult as the central illusion of his time, we must concede that the period was dazzled by the young, as a few book titles may indicate.
Andrew Marvell: ‘Its Own Resemblance’
Authors: Ricks Christopher 
Published: November 2023

Abstract
A characteristic figure of speech in Marvell is that which goes beyond saying of something that it finds its own resemblance, and says instead, more wittily and mysteriously, that some thing is its own resemblance. When William Empson remarked such a figure in Shelley— So came a chariot in the silent storm Of its own rushing splendour. . . . And others mournfully within the gloom Of their own shadow walked, and called it death.
Walter Pater, Matthew Arnold And Misquotation
Authors: Ricks Christopher 
Published: November 2023

Abstract
‘To see the object as in itself it really is’: so Arnold entered upon ‘The Function of Criticism at the Present Time’. Pater retorted that ‘in aesthetic criticism the first step towards seeing one’s object as it really is, is to know one’s own impression as it really is’. Oscar Wilde then took the next step: ‘The highest criticism, then, is more creative than creation, and the primary aim of the critic is to see the object as in itself it really is not’.2 As when the critic misquotes it? There is an innovative essay called ‘Misquotation as Re creation’ by Matthew Hodgart. Hodgart’s earliest example of a critic’s quasi—creative misquoting of the lines by Burns which he was instancing was Thomas Carlyle in 1828, and Carlyle at once followed his misquotation by of course insisting:
Introduction
Authors: Cooper Helen 
Published: November 2023

Abstract
Douglas Gray’s Oxford Book of Late Medieval Verse and Prose,1 to which the present collection of essays is intended as a companion volume, was a landmark work in the study of the literature of the end of the Middle Ages. The brilliance of other forms of the arts in the England of the period is unmistakable. It was in this period that the architecture of stone learned to fly, in the vaulting of Norwich Cathedral, the chapel of King’s College, Cambridge, or Henry VII’s chapel in Westminster Abbey.
Fleshly Monks and Dancing Girls: Immorality in the Morality Drama
Authors: Godden Malcolm 
Published: November 2023

Abstract
The morality play Wisdom, usually dated around 1460, survives in two early manuscripts, a rare thing for medieval English drama and presumably testifying to some degree of interest, if not popularity, in its own time. Yet though it has received a fair degree of attention in recent years, compensating for earlier neglect in favour of the racier Mankind and the better known Everyman, its place in late medieval dramatic and theatrical tradition remains a puzzle.
‘Spekyng for one’s sustenance’: The Rhetoric of Counsel in Mum and the Sothsegger, Skelton’s Bowge of Court, and Elyot’s Pasquil the Playne
Authors: Barr Helen , Ward-Perkins Kate 
Published: November 2023

Abstract
In keeping with the ambiguous meanings of the poem as a whole, the title of Skelton’s Bowge of Court can be understood in at least two senses. ‘Bowge’ is both ‘an allowance of food at court’ and an anglicized form of the French word for mouth: ‘bouche’: the mouth of the court, that is, court language, is inseparable from court sustenance.
Visio Baleii:An Early Literary Historian
Authors: Hudson Anne 
Published: November 2023

Abstract
The idea of a chair in English Literature and Language would have struck John Bale as a surprising, indeed probably a bizarre, notion. Yet the work of this irascible, prejudiced antiquarian has a claim to recognition as one of the first foundations to the edifice of vernacular literary scholarship, even if its author’s objectives were theological, ecclesiological, or historical rather than literary. Bale’s life was eventful: first a Carmelite friar, zealous for the reputation and history of his order, in the early I53os the views of the reformers persuaded him to abandon his fraternal profession in I 536, but not his intellectual pursuits.