bluuebunny/crossref_metadata_2025_split huggingface dataset:
Performance Practice
Authors: Hillier Paul 
Published: November 2023

Abstract
This chapter is addressed primarily to performers of Part’s music, though as I subscribe to the view that the most profound commentary on or analysis of any piece of music ultimately resides in a good performance of it, its raison d’etre is hardly a minor one. But of course the kind of language in which we seek to discuss the nuances of performance is even more hopelessly inexact than that employed for the more theoretical aspects of music. Accordingly, the chapter is a short one, and I have allowed myself a greater licence for what is, inevitably, personal opinion rather than verifiable fact.
Introduction: Steps towards Analysis
Authors: Cook Nicholas 
Published: November 2023

Abstract
One conclusion seems to be insistent.’ writes Roger Parker towards the end of his article ‘Verdi through the Looking-Glass’. ‘It is that ... we can espouse no “ideal” way in which words and music will make drama together, and that we should be careful not to approach the issue with unconscious a priori assumptions.’ 1 As I tried to show in Chapter 3-and the point applies to multimedia in general, not just to opera-the traditional language for analysing the interaction of different media is thoroughly entangled with prescription, implicit valuejudgement, and unsupported generalization. One of the points of having a relatively standardized vocabulary for the description of cross-media relationships is that it makes it possible to reverse this process, so prising description apart from prescription.
Credit Where It’s Due: Madonna’s ‘Material Girl’
Authors: Cook Nicholas 
Published: November 2023

Abstract
Dating from 1985 and directed by Mary Lambert.Madonna’s video ‘Material Girl’ quickly became something of a critical cause celebreOn the one hand, it was instrumental in establishing Madonna’s media image as the representative of a new kind of feminism-one that combined the most traditional of feminine charms with a quite untraditional kind of independence. On the other, it played a major role in establishing Madonna’s reputation in the academic world as the representative of an equally new kind of post-modernism; she was seen as an artist who composed with images and identities in almost the way that traditional musicians composed with tunes and harmonies. The result is that ‘Material Girl’ has become one of the most highly theorized of all music videos.
The Melodrama and Other Works
Authors: Stockigt Janice B 
Published: November 2023

Abstract
During the early years of the 1720s Zelenka composed three musical cycles: six sonatas (ZWV 181), six Lamentationes pro hebdomada sancta (ZWV 53), and twenty-seven Responsoria pro hebdomada sancta (ZWV 55) –works now regarded as forming landmarks in his compositional career. In addition to this trio, the most important works written during the five years following his return to Dresden comprise all remaining instrumental compositions (except for the Capriccio of 1729, ZWV 190), Missa Sancti Spiritus of 1723 (ZWV 4), and music for a Jesuit drama, Sub olea pacis: Melodrama de Sancto Wenceslao (ZWV 175).
U
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Uebel (Ubel), Carl. Piano maker in Heilbronn, Germany, c.1860. The later partnership of Uebel &Lechletter was established in 1871 in Heilbronn and was still in existence in 1981. (Pierce/ATLAS) See Kulmbach, (Martin Friedrich) Ludwig.
The Music, 1711-19
Authors: Burrows Donald 
Published: November 2023

Abstract
The Deficiences I found, or thought I found, in such Italian 0PERA’s as have hitherto been introduc’d among us, were, First; That they had been compos’d for Tastes and Voices, different from those who were to sing and hear them on the English Stage; And Secondly, That wanting the Machines and Decorations, which bestow so great a Beauty on their Appearance, they have been heard and seen to very considerable Disadvantage.
The Transitional Decade II: Confusion, 1737-41
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel’s programmes at Covent Garden had made a significant move towards an English repertory during March-April 1735 and in the early months of 1736, but that proved to be only temporary: the English-based cast of 1736 naturally required an English-based programme, but it is very unlikely that Handel foresaw at the time that his long-term future would lie with an English repertory.
Introduction
Authors: Bazzana Kevin 
Published: November 2023

Abstract
The Canadian Pianist, broadcaster, writer, and composer Glenn Herbert Gould was born in Toronto on 25 September 1932. (The family’s original, surname, Gold, was changed in 1939 or 1940.1) He was found to have perfect pitch at the age of 3, and other unusual musical talents-a photographic memory, gifts for sight-reading and improvisation-soon became apparent. Both his parents were amateur musicians, and until the age of 10 he studied the piano with his mother.
Aesthetics and Repertoire
Authors: Bazzana Kevin 
Published: November 2023

Abstract
The Most Basic premiss of Gould’s aesthetic was that music is primarily mental and only secondarily physical-that sound is a medium for the transmission of music but not a necessary, defining aspect of music itself For Gould a musical work was an abstract entity that could be fully comprehended in the mind in the absence of performance, without even the recollection of sounds or of physical means of production. A musical work thus existed beyond the sensory experience of it.
Counterpoint
Authors: Bazzana Kevin 
Published: November 2023

Abstract
Counterpoint Was One of the most important factors in Gould’s musical thought. It was crucial to his musical judgements, and he was renowned for his ability to clarify contrapuntal textures at the keyboard. He told Humphrey Burton in 1966 that he had ‘an inordinate fondness for all music that is in the least contrapuntal’,1 and throughout his career he made comments to the effect that his interest in a piece of music depended greatly on the degree to which it was contrapuntal. For Gould, musical craftsmanship was almost synonymous with the development of musical material in a contrapuntal setting.
Introduction
Authors: Kirkman Andrew , Slavin Dennis 
Published: November 2023

Abstract
Though most of it had long been available in various old editions, the bringing together of Binchois’s complete sacred music was the source of many surprises. First among these was the sheer bulk of the composer’s sacred oeuvre, which, as now became obvious, considerably outweighed that of his surviving secular output. The emphasis hitherto accorded to Binchois the composer of songs suddenly seemed disproportionate. But the surprises only multiplied through awareness of the wide diversity of styles and idioms encompassed by the various genres, sacred and secular, in which he worked. On its own, Binchois’s oeuvre presents an image which to modern perceptions—particularly when compared with the surviving output of his most celebrated contemporary, Dufay—appears paradoxical. If Binchois had a musical ‘personality’, that personality was split, it would appear, in different and unrelated directions. The familiar modern process whereby an image of the ‘author’ is constructed as it were in retrospect from a notional consistency in his or her surviving products seems in his case closed for us.
After Burgundy: Rethinking Binchois’s Years in Soignies
Authors: Gallagher Sean 
Published: November 2023

Abstract
Small cities sometimes vanish. Even while continuing to exist for cartographers and census officials, they disappear from the landscape of history Such has tended to be the case (at least in histories of music) with Soignies, the town where Binchois spent most ofhis last decade as provost of the collegiate church of Saint-Vincent. His move to Soignies in 1453 marked the end of his formal service to the duke of Burgundy, and perhaps also his career as a composer. The absence of works by Binchois securely datable to the 1450s, combined with his occupying a position at Saint-Vincent not directly related to music, has led to a view of the composer’s last years as musically inactive. At the same time, recent research by David Fallows has demonstrated that Saint-Vincent could hardly have been a musical backwater.
Binchois and the Poets
Authors: Fallows David 
Published: November 2023

Abstract
There are many reasons why some people are moving away from the kind of musicology that gathers information, sorts it, probes it, and tries to understand it in its own terms. But one reason is that new details have a nasty way of turning up just too late to be included. And one reason for that is obvious: bibliographical aids are now good enough to make it quite easy to locate the directly relevant material. It is only when you have read the last proofs that you turn to other matters and happen on something that could or should have been included.
Binchois’s Songs in the Feo Belcari Manuscript
Authors: Nosow Robert 
Published: November 2023

Abstract
In the humble fifteenth-century genre of Florentine lauda poetry, the name of Feo Belcari (1410—84) stands pre-eminent. One encounters his verse in virtually every Florentine laudario from the secondo Quattrocento. As early as 1833, the Accademia della Crusca edition of Belcari’s sacre rappresentazioni, or sacred plays, recognized the manuscript Florence, Biblioteca Nazionale Centrale, Magliabechi VII.690 as the single most authoritative source for his laude and rappresentazioni. Yet the manuscript has never been fully studied, either by musicologists or literary scholars.
Dictionary
Authors: Clive Peter 
Published: November 2023

Abstract
Adamberger, Antonie (b. Vienna, 31 December 1790; d. Vienna, 25 December 1867). Actress and singer; daughter of the tenor Johann Valentin Adamberger (1740/3-1804), the original Belmonte in Mozart’s Die Eniführung aus dem Serail, and of the actress and singer Maria Anna Adamberger, nee Ja(c)quet (1752-1804). Antonie made her debut at the Burgtheater as Antonia in Heinrich von Collin’s* Der gestörte Abschied on 22 February 1804, and was a full-time member of the company from 1807 to 1817.
Leonard Bernstein’s Kaddish
Authors: Schiller David M 
Published: November 2023

Abstract
This chapter, on Leonard Bernstein’s Symphony No. 3, Kaddish, has two sections. The first section begins with Bernstein’s self-conscious awareness of his own silence during the Holocaust. It explores how his struggle with assimilation frames the silence and also how this struggle finds increasingly confident creative expression, culminating with the composition of Kaddish. The second section analyses Kaddish as a post-Holocaust symphony, a delayed but clearly recognizable response to what Bernstein himself characterizes as the trauma of the Holocaust. The reception of Kaddish, taken up in the Conclusion, reflects the ‘turn inward’ of American Jews in the 1960s and marks the boundary of this study.
Introduction And Chronology
Authors: Kildea Paul 
Published: November 2023

Abstract
Britten’s writings in this period are unlike anything he later penned. Unbridled by lasting fame and public expectations, and buoyed by his well-developed sense of ambition and destiny, his essays attack any number of shibboleths and errant knights. In this, of course, if Auden was not always standing at Britten’s shoulder, he was at least sharpening his pencil. Even when American domicile and war had intervened, when Britten’s absence from England provoked censure and outrage in bodies ranging from the Royal Philharmonic to the Musical Times, when his artistic colleagues Auden and Isherwood were under fire in the Spectator and the House of Commons, he kept up his attack on the musical and political complacency of the country he had left behind. His defence of Mahler (Essay rn) is on one level a remarkably prescient piece about a composer whose true worth would really only be discovered once the LP record had eclipsed its short-breathed predecessor in the early 1950s, but on quite another level it is an attack on English concert programming, on the narrow-minded subscription to a symphonic canon defined to a large extent by Brahms’s death in 1897. To Britten, those who sought a broader definition, such as the BBC’s Edward Clark (Essay 2, the second of four essays written by the jobbing composer to supplement his meagre income), were fighting the same battle that he and his fellow artists (more commonly writers than musicians) were fighting. His piece on ‘England and the Folk-Art Problem’ (Essay 8) draws battle lines-admittedly not of his own authorship (English pastoralists had long been slogging it out with Teutonic infiltrators)-which he fervently believed would define the future of British music. Moreover, the Auden poem quoted at the end of the article represents Britten’s artistic creed in this period:
Wireless Concerts lose Edward Clarke (1936)
Authors: Kildea Paul 
Published: November 2023

Abstract
News comes that Edward Clarke [sic] has left the B.B.C.1 The bold scope and high standard of the Contemporary Concerts have been largely due to his perseverance. Both listeners and the B.B.C. music department will regret his going. The most important music broadcasts announced for May are Alban Berg’s violin concerto, completed shortly before his death last year, and Vladimir Vogel’s i¾lgadu, a work for chorus and small orchestra. The Berg is scheduled for May 1st, and the Vogel for May 16th. The month’s music will also include relays from Covent Garden opera house. The season opens on April 27th with Die Meistersinger. This will be broadcast in its entirety, a procedure almost unprecedented for the B.B.C. The Berg concerto will be played by Krasner2 and conducted by Anton von Webern, himself a composer and close friend of Berg during his lifetime.3 Von Webern’s series of Workers’ Concerts in Vienna drew crowded houses, and won him wide fame as a conductor. Vladimir Vogel, Russian composer living in Switzerland, is best known for his fine Storm March for brass, and for two rhythmic studies for orchestra. The choral writing of Wagadu is said to be difficult to a degree of virtuosity. It is a pity that no room has been found for novelties in this season’s opera. Practical difficulties may bar the production of Berg’s i-¼zzeck, but means surely exist for the staging of Shostakovitch’s Lady Macbeth. The broadcast of this work in March stirred up interest and discussion in many musical quarters. Why should Weinberger’s delightful Schwanda be dropped when, with a little nursing, it might deservedly become a popular favourite?
The Rape of Lucretia (1946)
Authors: Kildea Paul 
Published: November 2023

Abstract
Sir, Two leading members of the Arts Council have now stated that Glyndebourne is ‘lending’ or ‘letting’ its opera house for the production of The Rape of Lucretia. This is a complete misrepresentation of facts. When some eight months ago the Glyndebourne management became aware of my plans for opera I was approached by Mr. Bing, Glyndebourne’s general manager, and was offered the production of my new opera at Glyndebourne for the reopening of the Glyndebourne festival-an offer which I gladly accepted. The engagement of all artistic personnel, and the whole organization of the production, carried out in closest collaboration and agreement with myself, was and is in the hands of the Glyndebourne management, who are presenting the opera and are financially and otherwise solely responsible for it. The purpose of this letter is to inform the Arts Council, who from the start were asked to collaborate, and those who may be interested in the vicissitudes of English opera of the facts.
The Artist and his Medium: Composer and Listener (1946)
Authors: Kildea Paul 
Published: November 2023

Abstract
I expect most of you have read about composers of the past and know something about the kind of lives they lived. You will have noticed how in each country and in each period these lives varied-how some composers were attached to courts and their works were written to order to please the taste of their rich patrons; how some were attached to famous churches and had to compose cantatas each week to fit the calendar of church festivals; how some were attached to theatres and had to produce operas to the taste of the theatre directors. If you feel that such harnessing of the creative vision is all wrong just let me remind you that these systems produced such giants as Bach, Haydn and Mozart. Perhaps also you have noticed that in the 19th century another kind of composer sprang up, who was more independent and composed music to please himself only and who sometimes, as a result of this, had a very hard life and often chose to starve in a garret rather than pander to the whims and fancies of other people. The 19th century also produced great composers. I should like to talk to you this morning about the kind of life the composer leads in the 20th century so that you can compare this with the lives of earlier composers.
The Arts Council and Opera (1950)
Authors: Kildea Paul 
Published: November 2023

Abstract
POOLEY: What we are trying to do, Mr. Britten, is to make up our minds what are the real requirements in regard to opera and ballet during the next five years, and what funds will be needed to sustain them on the basis of building up a national opera and a national ballet. Those requirements will then be put before the Arts Council, and they will put them before the Treasury, and we shall see what happens. We have asked a number of people to consult with us, and it is very nice of your [sic] to come this morning. We would, of course, like to hear anything that you wish to say, but what we are especially interested in is the English Opera Group, which you largely founded and of which you are now the mainstay. BRITTEN: More or less, I should like to say; because at the beginning, since we had to found a new style, my task was greater than I hope it will be in the future. Until one established a style such as this, other composers will not write for it, but now, happily, other composers are writing for it, and so I think my part in it will probably be less in the future than it has been in the past.
The Rise of English Opera (1951)
Authors: Kildea Paul 
Published: November 2023

Abstract
I welcome this finely detailed study of English Opera. English opera always seems to me, perhaps too hopefully, the Cinderella of the arts. This book makes it quite clear why the poor girl is having to wait so long for her handsome Prince. The three things English opera needs, as does any opera, are business organisation (including cash), public goodwill, and composers to write new operas. Never yet in this country have these three things coincided. Mr. White describes the launching of many admirable enterprises, good teams of singers engaged (there always seems to be good material available if not the good artistic direction to develop it)-and then the public response fails.1 We read of good composers with exciting ideas for operas-and the backers are not impressed. And we read of flourishing seasons failing, because there are no new operas. It makes gloomy if fascinating reading! But why should anyone mind?-who cares if there is English opera? We are told so often that Italian and German, even Russian and French, opera is superior to ours (true, in spite of Dido and Aeneas), and people have been known to say that the English language is ugly when sung (quite untrue, although it is more difficult to manage than, say, Italian). All the same, if we continue to perform opera, and to perform it in a language that most of the audience does not understand, one of the essentials of opera is lost. It is not enough to know roughly what is happening at a particular moment; if one thinks with what infinite precision a Mozart or a Verdi points the smallest word or tiniest shade of emotion, that will be clear. For this reason I am an unrepentant supporter of the regular seasons of opera in England being sung in English. But, however brilliant the translators’ work may be, obviously it is not ideal; the composers’ prosody must necessarily suffer, and the character of the opera change.
Serenade, for Tenor, Horn and Strings (1954)
Authors: Kildea Paul 
Published: November 2023

Abstract
SIR,Your review of the new Decca recording of my SERENADE FOR TENOR, HORN AND STRINGS has recently been shown to me. I should like, if you will allow me, to make a comment on it. In the Prologue and Epilogue the horn is directed to play on the natural harmonics of the instrument; this causes the apparent ‘out-of-tuneness’ of which your reviewer complains, and which is, in fact, exactly the effect I intend.1In the many brilliant performances of his part that Dennis Brain has given he has always I am sure, played it as I have marked it in the score.2 Anyone, therefore, who plays it ‘in tune’ is going directly against my wishes! If the critics do not like this effect they should blame me and not Mr. Brain. Yours etc.,
The Physician Folly (1955)
Authors: Kildea Paul 
Published: November 2023

Abstract
I SHOULD like to welcome most warmly into the exciting world of opera my young colleagues, Blythe and Collison. I have been working in that world myself for some ten years, and I know quite a bit about the excitements-and the difficulties too. First, the planning of the work (that is all excitement), then the writing of the libretto and the music (some difficulties here). Then, when all that is satisfactorily accomplished, comes the production, and the excitements and difficulties there can hardly be exaggerated! It is a triumph to achieve the production of a new opera, and I offer my young friends my sincere congratulations. And to you, the audience, I wish a happy and stimulating evening.
Britten’s Method of Composing (1956)
Authors: Kildea Paul 
Published: November 2023

Abstract
BRITTEN: My method is quite simple. I plan my work away from the piano and away, moreover, from paper. I do 99 per cent of my work thinking about it-walking, or in trains, aeroplanes, if it’s not too bumpy, and in buses and cars and so forth. Then when the music is fixed in my head I go to the paper and work out more precisely the details. I don’t use the piano except at the very end when the work is more or less complete-more for confirming my ideas-if there’s been a harmonic progression which was new for me just to make sure it sounds, in sound, as it did in my head.BIRCH: And do you usually write out all the parts-or part of the parts yourself, or do you usually get someone to do that in detail?BRITTEN: Oh no, one does everything oneself. Usually in orchestral work or a work for chorus or an opera which is an elaborate one, the first draft which is in itself complete-it isn’t a sketch in any way, but it is a simple way of writing it down in what one calls short score. In other words, instead of writing the thirty odd lines which one needs for a full score, I write it in two or three or four staves.