bluuebunny/crossref_metadata_2025_split huggingface dataset:
‘A virtuoso in his own right’
Authors: Samson Jim 
Published: November 2023

Abstract
The music Chopin composed during these years in Warsaw ranges from trivial childhood efforts to mature compositions widely regarded today as among the most significant achievements of the Romantic era. In examining this music collectively we need to bear in mind that the genres and styles of early nineteenth-century music were shaped to a marked degree by the characteristic functions associated with specific venues. Three relatively distinct styles might act as a framework for such an examination. First there is post-classical concert music-’brilliant’ polonaises, fantasies, variation sets, and independent rondos-composed above all for display and geared either to the salon concert or to the demands of the competitive, commercial world of the public benefit con¬ cert. Secondly there is the much simpler style associated with amateur music-making in the bourgeois and aristocratic drawing-room, including easy dance
pieces, songs am volkston, and short character pieces. And finally there is the so-called ‘Viennese’ classical style of the sonata and the cyclic chamber work, regarded even at the time as privileged and directed more to like-minded fellow musicians than to the wider public. These are by no means watertight categories, but they serve at the very least as useful reference points.
‘The perfection of art
Authors: Samson Jim 
Published: November 2023

Abstract
During his first summer in Nohant (1839), Chopin composed three of the Op. 41 Mazurkas, the second of the Two Nocturnes, Op. 37, and the F sharp major Impromptu, Op. 36. More ambitiously, he completed the B flat minor Sonata, Op. 35. In the tranquillity of George Sand’s country home he brought to fruition a phase of creativity which had been initiated in Majorca with the second Ballade, the C minor Polonaise, Op. 40 No. 2, and the twenty-four Preludes, and had continued in Marseilles with the C sharp minor Scherzo. Nohant offered Chopin ideal working conditions, and it is telling that he composed, or at any rate completed, very little during the ensuing eighteen months in Paris. It is likely that other works were at various stages of gestation during this creative ‘interregnum’, but it was only on his return to Nohant the following summer (1841) that he felt able to embark on a further period of sustained composition.
Songs
Authors: Watson Derek 
Published: November 2023

Abstract
Liszt’s importance as a song composer has been re-appraised in recent years. Apart from a handful of popular items, his songs suffered long neglect: quite unjustly, for the best of them are very good indeed. Liszt had a natural lyric gift, his vivid imagination was often fired by literature, and when he succeeded in finding music of poetic appropriateness and sensitivity then his settings rank among the finest of the nineteenth century. An encouraging sign is the number of distinguished international singers who have recorded his songs in the last decade.1 Scarcity of scores and lack of modern reprints have hindered the dissemination of his songs.
Overture
Authors: Kinderman William 
Published: November 2023

Abstract
No composer occupies a more central position in musical life than Beethoven. Changes in taste and in the role of art in society have in no way blunted the appeal of his music on many levels-from ubiquitous popularization in television advertising to the most exemplary professional performances. If the fascination Beethoven exerted in the nineteenth and early twentieth centuries was tied to his heroic, revolutionary image, the last half-century has increasingly demonstrated the universal scope of his legacy. Beethoven’s deep roots in the Enlightenment lent qualities to his art that cannot be adequately understood in terms of a merely personal or national style. His restless, open vision of the work of art reflects a modern and essentially cosmopolitan aesthetic attitude. Flexible principles and not fixed preconceptions guided Beethoven’s artistic process, as is minutely documented in the thousands of pages of his surviving musical sketches.
The Path to Mastery 1792–1798
Authors: Kinderman William 
Published: November 2023

Abstract
Beethoven could hardly have imagined when he left Bonn in late 1792 that he would never again see his birthplace, or that the reign of the elector would be swept away in the wake of the French occupation less than two years later. The conditions of his entry into Vienna were auspicious; he immediately came under the wing of music-loving aristocrats who supported him generously.
Technique
Authors: Ferguson Howard 
Published: November 2023

Abstract
When two people first play duets together each invariably accuses the other of taking up too much room. Their complaints echo down the years from as far back as 1777, when Dr Charles Burney wrote in the preface to his pioneering Four Sonatas or Duets for Two Performers on One Pianoforte or Harpsichord: ‘Though, at first, the near approach of the hands of the per formers may seem awkward and embarrassing, a little use and contrivance with regard to the manner of placing them, and the choice of fingers, will soon remove that difficulty.’ Burney might also have mentioned the position of their seats.
Concerts, Publications, Operas
Authors: Spink Ian 
Published: November 2023

Abstract
WITH the execution of the king on 30 January 1649 and the proclamation of a Commonwealth and Free State the following May, the Chapel Royal and the King’s Musick were no more. In practice they must have ceased to exist when the king gave himself up to the Scots in 1646, though money owing to them continued to be paid. A warrant made out to Lawes by the Parliamentary Receiver-General in April 1647 for £6 13s. 4d. was no doubt welcome, but it underlined the fact this was the end of the road. The future must have looked bleak. He was now dependent on the Egertons, and conceivably might have been satisfied with such an existence-as a number of his ex-colleagues from the Royal Music were, John Wilson among them-but Lawes threw himself into London musical life, which was about to enter a period of rapid expansion. As the leading song composer of the time and with a wide circle of aristocratic and literary acquaintances, setting himself up as a fashionable teacher seemed an obvious line to take. Hardly surprisingly, his name appears at the top of a list of ‘excellent and able Masters For the Voyce or Viole’ printed by Playford in his Musical! Banquet (I 65 I).
Dissemination
Authors: Allsop Peter 
Published: November 2023

Abstract
Beyond his dealings with the courts of Neuburg and Berlin and the agency of Muffat, the paths of dissemination of Corelli’s music in Germany and Austria are singularly ill-defined.1 There is no clear documentation of a stream of pupils eager to make the pilgrimage to Rome, and those whose names have in the past been associated with Corelli’s-Christoph Raupach and Johann Georg Storl-hardly contribute to our knowledge of the Corellian idiom in Germany. There is little evidence of a ‘cult of Corelli’ or sudden rash of Corelli mania as there was for a time in France and for a century and more in England. In the northern monarchies the advent of Corelli’s music coincided with particular moments in the process of Italianization, but the Germanic lands had long been exposed to the infiltration of Italian music and musicians.
Dragonetti’s Venetian Connections
Authors: Palmer Fiona M 
Published: November 2023

Abstract
Dragonetti passed the evening with us ... he came to seek his beloved wife, alias his double bass, which he had left in our care for these past two months. He has refused a sum, which few men would for their wives, and perhaps which few wives would value namely [£]800. It has been in his possession for 40 years and upwards, and belonged to the nuns of La Pieta at Vicenza An English nobleman had offered room guineas for this celebrated double bass, but Dragonetti, who coveted it also, won the father confessor to his side, who finally succeeded in persuading the nuns that it would be sacrilege to sell this valuable instrument to a heretic who could not give voice to it, and refused to hear their confessions until they acceded to his wishes, and the instrument became Dragonetti’s who alone is worthy to possess it.
Dragonetti ‘s English Years
Authors: Palmer Fiona M 
Published: November 2023

Abstract
I hope this will find you in good health. I merely write these few lines in order to remind you that I am here, & that you promised if you did not go to the Continent, to come to this place, where I am sure if you are fond of music you will be delighted, for I sometimes play the 1st Violin instead of the double Bass by way of a change-I have written this early in con sequence of hearing the opera closed last night. Captain New boy is here & begs to be remembered to you-Mori came down for one day, but was obliged to leave in consequence of the opera not being closed.
The King’s Theatre
Authors: Palmer Fiona M 
Published: November 2023

Abstract
Though the parallel may appear rather ludicrous, yet we cannot avoid comparing this theatre to some fen-farms, which, if productive once in every four or five years, pay enough to enable the tenant to bear the losses he sustains during the unsuccessful intervals. Now and then we have a good season at the Opera House, but it comes about as often as a fine sum mer, once in an Olympiad, and helps us in our musical chronology, as the celebration of certain games assisted the Greeks in marking the periods of their history.
The Position of Women in Popular Music
Authors: Bayton Mavis 
Published: November 2023

Abstract
The world of popular music is highly structured in terms of gender. Traditionally, women have been positioned as consumers and fans, and in supportive roles (wife, mother, girlfriend) rather than as active producers of music: musicians. When they have been on stage, on TV, on record, it has nearly always been as singers. They have sometimes written their own lyrics, rarely their own music, and there are very few women playing instruments. Currently, women’s lives are accompanied by a male soundtrack. This has important implications, for popular music permeates modern life and helps to make us the people we are, both reflecting existing gender differences and also actively helping to construct them. Young women and men learn how to be feminine, masculine, and heterosexual through listening to rock’ music, and observing the clothes, bodily gestures, and general performance of rock musicians as they simultaneously perform gender, sexuality, and music.
Routes into Rock
Authors: Bayton Mavis 
Published: November 2023

Abstract
There are many factors which make it possible for women to become rock musicians, despite all the obstacles so far described. For any one person often more than one factor is at work and no one variable is, by itself, a necessary or sufficient explanation: there is no single ‘typical’ female route into rock music-making. Moreover, the relationship between these variables in the lives of women musicians will probably be as inextricably complex as in the analysis of educational achievement or delinquency. Why should it be otherwise? Bearing this in mind, I shall now outline the few variables which stand out as enabling women to evade or overcome the social and cultural constraints which I have already described. Other writers have held up youth subcultures as the major source of resistance to cultural tramlines (Hall and Jefferson 1976; Willis 1978), but, once the question of gender is raised, it is obvious that women are just as marginal and subordinate in subcultures as elsewhere (McRobbie 1980; Frith 1983; Thornton 1995). The relevant point, here, is that most musicians (male or female) do not come out of youth subcultures. From my own empirical research, I have concluded that the only youth subculture which provided a route was punk, since it offered young women more cultural space than previous youth groups. In contrast to subcultural theory, I have found that the following are the significant routes into music-making: a musical family, a classical music training, an art education, involvement in drama, gender-rebellion, musician boyfriends/husbands, higher education, accessible female role models, feminism, and lesbianism.
Punks, Feminists, Lesbians, and Riot Grrrls
Authors: Bayton Mavis 
Published: November 2023

Abstract
The single largest surge of women into rock music-making in the UK was in the late 1970s and early 1980s as a result of two phenomena: the ‘moment’ of punk rock and 1970s second wave feminism (then known as the Women’s Liberation Movement). This sudden increase in the number of women playing in rock bands was recognized by the media at the time in a flurry of articles about ‘women in rock’. Similar media excitement greeted the Riot Grrrl phenomenon of 1993 but, in Britain unlike America, Riot Grrrl remained little more than a label lazily applied by journalists to any and every young women’s rock band and rejected by all but a handful. Insofar as Riot Grrrl did exist beyond its media fabrication, it can be seen as the boisterous youthful offspring of punk and feminism which I shall discuss after dealing with its far more significant parents.
I
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Ibach. A distinguished firm of German piano manufacturers; founded in 1794 byJohannes Adolph Ibach (b Lüittringhausen near Barmen, 20 Oct. 1766-dBarmen, 14 Sept. 1848) in Barmen, near Di.isseldorf. According to Dolge/PIANOS, 222 £, Johannes Adolph was educated at the monastery in Beyenburg (later Barmen). He learned his craft and worked apparently independently in Beyenburg in 1794, in Rittershausen in 1801, and Wupperfeld in 1806. In 1816 he had expanded by opening a new shop on the Alleestraße in Unterbarmen. His sons, Carl Rudolflbach (b 22 Feb. 1804—d Barmen, 26 Apr. 1863) and Richard Ibach (b 1812—d 24 Oct. 1889), continued as heads of the factory. In 1869 Richard concentrated on the organ division. Carl Rudolf’s son Rudolf (b 30 Jan. 1843-d 31July 1892) was early in his career employed by his uncle, Richard, but from 1869 he alone was responsible for bringing the firm to international prominence under the name Rudolf Ibach Sohn.
P
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Pachl, Johann (Karl) (b Pest, ?-dPest [Budapest], 1870; fl. from 1827). Piano builder and dealer in Pest. Pachl held master’s status in 1833 (according to Gabry/MEISTER: 1830) and became a citizen of Pest in 1840. In 1836 he worked with three journeymen under J6zsef Chmel. In 1846 Pachl’s pianos won a prize for their ‘ringing tone’ in the Pest exhibition. From 1845 to 1855 Pachl was director of his guild. After 1849 he gave up piano building and became only a dealer in Hungarian and imported pianos. (Fontana/PEST, 176) Pachl’s daughter, Henriette Zapf, was also a piano dealer in Pest, from 1869 to 1892.
R
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Raay, Joannes van {fl. c.1820s) Piano maker m Amsterdam. Date: 1827 Style: Square Compass: 6 Oct.: Ff-F Length: 171.5 Width: 65.5 Depth: 26.5 Height: 89.5 Case: Mahogany with inlaid satinwood borders, nameboard of bird’s-eye maple; four square tapered legs inlaid with brass adjustment screws; comers angled and decorated with brass laurel wreaths and leaf and flowered ornament on ebony ground, brass ornamented keyhole INSCRIP’TION:]. van Raay on nameboard; top key: no.24; elsewhere: 31; damper rod at left: 11Juni 1827 STRINGS: Double-strung throughout SCALE: c2=29.8 NATURALS: Ivory: 13.8 long SHARPS: Ebony: 9.4 long ACTION: English with intermediate lever, moving jack, crank dampers PEDALS: 3 (only 1 functional) art. to lyre: lifts dampers; original pedal on leg now missing) PRESENT OWNERS: The Netherlands/The Hague: Gemeentemuseum, no.
Y
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Youatt, George (fl. 1846-92). London maker at 3 Stanhope Street, Hampstead Road. (PO 50) In 1864 his address was given as 105 Prince of Wales Road, while he was at 148 Regent Street in 1865, and 128 Regent’s Park Road in 1872. George Youatt and Son were listed in 1886, and Victor Youatt in 1892.
Harpsichords, Spinets, and Clavichords
Authors: Maunder Richard 
Published: November 2023

Abstract
The instruments described in this chapter are all Viennese-made or at least, in the case of unsigned ones, recognizably in the same tradition (for information about imported instruments, see Chs. 6 and 7). About half of them have been inspected by the author, but for further details I have relied on published data and, especially, information kindly supplied by museum curators and others in response to my enquiries.
Music and Instruments before 1770
Authors: Maunder Richard 
Published: November 2023

Abstract
It is clear from Chapter 4 that the Viennese tradition of harpsichord making was well established by the beginning of the eighteenth century. How were composers and performers of the time using these as well as, perhaps, imported instruments? What of spinets and clavichords-or even pianos? To what extent does the music take account of the characteristic ‘Viennese’ multiple-broken short octave, or throw any light on its evolution? What was happening around 1.700 depends, of course, on developments in the seventeeth century.
Music and Instruments, 1770-1800
Authors: Maunder Richard 
Published: November 2023

Abstract
THE first sign that times were beginning to change was an advertisement on 4 August 1770 by van Ghelen, publisher of the Wienerisches Diarium, for nearly a whole column’s worth of music imported from Paris. It included keyboard works by the London composers J. C. Bach and C. F. Abel, as well as ‘6 Airs Opera Comique’ by Mlle Bayon. The music by Bach and Abel was exclusively for ‘clavicembalo’ or ‘clavecin’, but a repeat advertisement for Bayou’s ‘Airs’ adds that they were ‘arranges pour le Biano forte ou le Clavecin’: this is apparently the first music advertised in Vienna that was intended for the new instrument. Van Ghelen continued for the next few years to advertise music published in Paris and elsewhere; the bookseller Kruchten quickly followed his lead, and by 1776 (possibly 1774) was advertising music from London publishers as well (see App. D). Much of this imported music named the piano as an alternative to the harpsichord, 1 the former instrument being well established in London, and probably also Paris, by the early 1770s.
Music For Germany And Italy, 1706-10
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel’s earliest efforts at composition are lost, though we could make some guesses about their genres and style from the works of those composers that he studied during his musical education - Zachow, and the composers represented in his 1698 copy-book. His earliest surviving musical autograph is of the F major setting of Laudate pueri, Dominum (HWV236).
The Music, 1732-41
Authors: Burrows Donald 
Published: November 2023

Abstract
Such as are not acquainted with the personal character of Handel, will wonder at his seeming temerity, in continuing so long an opposition which tended but to impoverish him; but he was a man of a firm and intrepid spirit, no way a slave to the passion of avarice, and would have gone greater lengths than he did, rather than submit to those whom he had ever looked on as his inferiors: but though his ill success for a series of years had not affected his spirit, there is reason to believe that his genius was in some degree damped by it; for whereas of his earlier operas, that is to say, those composed by him between the years 1710 and 1728, the merits are so great, that few are able to say which is to be preferred; those composed after that period have so little to recommend them, that few would take them for the work of the same author. In the former class are Radamistus, Otho, Tamerlane, Rodelinda, Alexander, and Admetus, in either of which scarcely an indifferent air occurs; whereas in Parthenope, Porus, Sosarmes, Orlando, Aetius, Ariadne, and the rest down to 1736, it is a matter of some difficulty to find a good one.
Wiser’s Codices and the Absconditus Binchois
Authors: Gozz1 Marco 
Published: November 2023

Abstract
The oldest Trent Codices (Tr 87 and Tr 92) are the most important repositories of the sacred works of Binchois. The first part of Table 6. reveals that only three of the known Ordinary sections are not preserved in those manuscripts. On the other hand, the more recent Trent Codices (Tr 90, 88, 89, and 91), copied mainly by Johannes Wiser, have very few ascriptions and the name ‘Binchois’ never appears. If we consider the Ordinary pieces in the perfectly ordered collection of Tr 93, copied by Wiser into Tr 90,1 we observe that only five items in 132 are ascribable to Binchois, and these only by means of concordant sources.
International Recognition (1937-9)
Authors: Mccabe John 
Published: November 2023

Abstract
THERE are several clear influences, or at least kinships, to be detected in Rawsthorne’s music, and a number are cited with fair regularity; some ( the Baroque in general, and Handel in particular, as well as Haydn) are discussed elsewhere in this volume. His music certainly shows a high regard for Prokofiev and Roussel, though this emerges only subtly and very occasionally. Among the few overt references are the opening of the Second Violin Concerto, whose solo violin theme has a clear relationship with that of Prokofiev’s Second Violin Concerto (a favourite of Rawsthorne’s) extending to register, style (single, uniformly spaced notes), and the outline of common chords as part of the melodic shape.
The 1950s (1951-8)
Authors: Mccabe John 
Published: November 2023

Abstract
IF the First Piano Concerto was Rawsthorne’s definitive homage to the Baroque, with its toccata (the Capriccio ), chaconne, and gigue (the Taran tella), the Second might be regarded as his tribute to Brahms, especially since it comes as perhaps the culminating point of his post-war romanticism. His relationship with Brahms is difficult to fathom. Some friends, such as Denis Matthews, thought he detested the music of Brahms, while others found his views varying from youthful enthusiasm to at least some degree of disregard. In the case of his Second Piano Concerto there are good grounds for thinking that, whether he liked Brahms’s music or not, he had sufficient respect or even admiration to find his own source of inspiration in it.
The Last Years (1967-71)
Authors: Mccabe John 
Published: November 2023

Abstract
RAWS THORNE ‘s last work in concerto form, the Concerto for Two Pianos, was much terser in expression than the Cello Concerto. It was commissioned by the BBC for the 1968 Proms, where it was given its premiere by John Ogdon and Brenda Lucas. It was subsequently revised, as usual with his major works, the finale’s introduction being omitted (even before the first performance) and the ending extended. Rawsthorne wrote that a difficulty lay ‘in the appalling number of notes one has to contend with. Such is the. range of the keyboard and the agility with which it can be manipulated that two grand pianofortes plus a symphony orchestra present an array of resources which can at times become bewildering.’His response, however, is typically resourceful, and in many passages he responded to the challenge with vitality and imagination.