bluuebunny/crossref_metadata_2025_split huggingface dataset:
Fight Against Illness (1823-1824)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
‘Pain sharpens the understanding and strengthens the mind.’ 1821 and 1822 were years of crisis in Schubert’s personal life; in the years 1823 and 1824 he had to come to terms with the deterioration of his health, both physical and mental, and specifically the destabilization of his position in society which resulted from syphilis. It was almost inevitable that, as a creative artist of great sensuality living in an artistic and intellectual climate in which the importance and the spiritual freedom of the individual were especially valued, he would find it necessary eventually to break free from the restrictive disciplines and morality in which he had been nurtured. Only then was he in a position to develop his independence and personal identity, to fulfil his artistic promise, to create his own musical language, style, and sounds and, through them, to express in music his genius. Before turning to a detailed look as Schubert’s life during 1823 and 1824, it is worth pausing to establish an overall picture of his health, his professional career, and his relationships with friends.
Henry Lawes
Authors: Spink Ian 
Published: November 2023

Abstract
Henry Lawes (1596-1662) has long been acknowledged as the most important and prolific English songwriter between the death of John Dowland in 1626 and the birth of Henry Purcell in 1659. He is celebrated as Milton's collaborator in Comus (1634). Although he wrote some church music, Lawess significance as a composer lies in his settings of many of the choicest lyrics by Cavalier poets such as Carew, Herrick, Suckling, and Waller-who, like Lawes himself, belonged to the brilliant court of Charles I. This book combines an account of his life with a study of his development as a songwriter during this fascinating historic period. Following the execution of the King in 1649, Lawes played an important part in establishing concerts in London during the 1650s, and was one of the composers of the first English opera, Davenant's The Siege of Rhodes (1656). At the Restoration he set Zadok the Priest for the coronation of Charles II, but died the following year. The last book on Lawes appeared in 1940, since when the importance of his songs has been increasingly recognized-thanks in part to Ian Spink's own previous study, English Song: Dowland to Purcell (1986), and his edition of Cavalier Songs: 1625-1660 for Musica Britannica.
Beginnings
Authors: Spink Ian 
Published: November 2023

Abstract
HENRY LAWES was born in 1596 and died in 1662. His place of birth was Dinton in Wiltshire, a village nine miles west of Salisbury, just beyond Wilton.1 His parents, Thomas and Lucris, were married there on 3 February 1594, and Henry was christened on 5 January 1596.2 ‘Lawes Cottage’, where he is supposed to have been born, still stands and is owned by the National Trust. Close to the church—about half a mile away—was the house where Henry Hyde lived, and where Edward, later Earl of Clarendon and Lord Chancellor of England, was born in 1609. At Wilton, Henry Herbert, second Earl of Pembroke, had his seat. Henry, indeed, might be an auspicious name.
Lawes and the Cavalier Poets
Authors: Spink Ian 
Published: November 2023

Abstract
IN the previous chapter Lawes’s songs were divided for the purpose of broad analysis into three basic types: (1) those in common time, (2) those in triple time, and (3) those beginning in common time but ending with a final couplet or stanza in triple. On the whole common time implied the declamatory style, whereas triple time invariably meant tuneful strophic settings often employing dance rhythms. A more subtle distinction must now be made between various types of common-time song. The first (1a) comprises those that are either tuneful or mildly declamatory, and strophic; that is, the same music serves for all stanzas. (These have sometimes been called ‘ballads’, and though the term is too ambiguous to be of much use, it seems appropriate to a song like Sir John Suckling’s ‘Out upon it, I have lov’d’.) The second (lb), typified by Robert Herrick’s ‘Whither are all her false oaths blown’, comprises those that are more highly declamatory and through-composed; what we may now regard as the ‘declamatory ayre’ proper.
The Civil War
Authors: Spink Ian 
Published: November 2023

Abstract
BY the outbreak of the Civil War in 1642 Lawes had reached a peak. His settings of lyrics by Herrick, Carew, Waller, and other cavalier poets had seemingly achieved an ideal, one which the poets themselves acknowledged and fellow musicians accepted as a model. It would be wrong to say that from then on he was content to repeat himself—there was the matter of recitative and its application to opera to explore—but in other respects it was a period of consolidation, and even, to some extent, of retreat.
Arcangelo Corelli
Authors: Allsop Peter 
Published: November 2023

Abstract
The first full-length study for forty years, Arcangelo Corelli offers a much needed reassessment of the seminal composer’s life and works. His current historical perspective is still largely conditioned by the opinions of Burney and Hawkins in the late 18th century who saw him as the consolidator of past trends rather than an instigator--a view fully endorsed in the two biographies of the present century. Neither of these writers was truly in a position to make such judgements if only because neither was aware of the contsributions of the Roman School to which Corelli emphatically affirmed his allegiance. Extensive archival research over recent years now dispels much of the anecdote and hearsay accumulated over the centuries and makes possible a more balanced evaluation of Corelli’s true status in the development of the prime instrumental genres, accounting for his phenomenal success both during his lifetime and in the creation of musical canon in the decades after his death.
Rome: The Early Years
Authors: Allsop Peter 
Published: November 2023

Abstract
1675 was a propitious year for Roman musicians: Pope Clement X Altieri had declared it a Holy Year to be marked ,vith splendid festivities in the city’s main churches--much more to the Pope’s liking than the secular celebrations of carnivals and comedies of his predecessor. Among these events, between January to March, fourteen oratorios commissioned by a soci ety of Florentine gentlemen were perfonned at the Oratorio della Pieta of the church of San Giovanni dei Fiorentini. For Antonio Masini’s S. Eustachio, given on 3 February, a distin guished concertina of soloists had been selected from the best players of Rorne--Carlo Mannelli (violin), Leho Colista (lute), Bernardo Pasquini (keyboard), Gasparo Contarelli and Francesco Maria Benedettini (violone)-but in a humbler capacity among the violini del con certo grosso appears the simple entry ‘Il Bolognese’.
The Free Sonatas a 3 (1)
Authors: Allsop Peter 
Published: November 2023

Abstract
The particular distribution ofCorelli’s published works suggests a seemingly obvious chrono logical order of treatment by scoring and function, to which most commentators, past and present, have subscribed. Despite the accumulation of apocryphal works and the obvious fact that date of publication may bear little relationship to date of composition, this approach still recommends itself as the most practical, although it is not entirely without its drawbacks and pitfalls. Pincherle equated genre with scoring, grouping all a 3 works into a single category, despite the fact that in Opp. I and 3 an organ continuo is obligatory while for Opp. 2 and 4 no continuo instrument is required. Some degree of caution is also necessary in the custom ary functional distinction of these sonatas a 3 into sonate da chiesa (Opp. r and 3) and sonate da camera (Opp. 2 and 4), for while he recognized the latter category, the former was not a designation he ever employed, and it remains to be proven whether he did envisage a specific ‘da chiesa’ function for the odd-numbered opera.
Introduction
Authors: Palmer Fiona M 
Published: November 2023

Abstract
Within these pages it is Dragonetti’s English years (1794-1846) that are examined and interpreted. The wealth of primary material relating to this part of his life has never before been comprehensively researched and analysed. His impact on music-making in nineteenth-century England was considerable; his consummate mastery of a seemingly clumsy and limited instrument was a rev elation to English audiences, and became a fundamental aspect of musical life for nearly half a century. He was, of course, in good company. Like Paganini and Liszt, who irreversibly and publicly broke down technical barriers on their instruments by their unprecedented virtuosity, Dragonetti displayed diversity of expression and complexity of technique and so heightened expectations of his instrument.
The Ancient Concerts
Authors: Palmer Fiona M 
Published: November 2023

Abstract
While the Ancient and Philharmonic Concerts last, and are properly managed, music will be in no danger of sustaining any permanent injury from the caprices of fashion; although there will always be some to cry out, that Handel is gothic, and Haydn superannuated.
The Antient Concerts offered stability and moral propriety at a time when they feared that musical life was becoming corrupted with novelty and luxury. The concerts stood for a whole gamut of musical, moral, and artist tic principles; ... they institutionalised an ideology.
Provincial Engagements: Music Festivals
Authors: Palmer Fiona M 
Published: November 2023

Abstract
The third concert was decidedly the most attractive, the Senate House being crowded to excess soon after the doors were opened. It was with difficulty the performers could force their way into the orchestra, and in this dilemma an entrance was effected through a window at the upper end of the room, by which Madame Catalani, Madame Pasta, as well as the Bishop of Limerick, and several other persons of distinction, were admit ted. Some confusion prevailed among the band, the double basses of Dragonetti and Taylor being broken in removal from the church, and Lindley being in great consternation having left a concerto at Bath, which he meant to play here.
During the remaining months of the year, as summer turned to autumn and winter, Dragonetti took provincial engagements. Public music-making in major towns centred upon music festivals. Many sprang up, only to disappear very quickly; others, perhaps most notably the Three Choirs Festival, founded in r 7r 5, continue to flourish today.
F
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Fabian, J. (fl. c.1850—60). Piano manufacturer in London at 53 Upper Baker Street, Portman Square. (Parkinson/ VICT, 93) Fairchild,Joseph (ft. 1846—52). London maker listed at 30 Grafton Street, Fitzroy Square; in 1849, and at 200 High Holborn.
J
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Jackson, G. W. (fl. c.1845). Piano maker in Uttica, NY. See OLIVER, Charles, &G. W.Jackson. Jackson,Jamesjun. (fl. 1849—58). Partner ofWilliam Howe Geib in a New York dealership. No information has been discovered about Jackson’s origins. See GEIB in Clinkscale/MAKERS i. 118; and also Groce/NY, 60.
Keyboard Instruments in Eighteenth-Century Vienna
Authors: Maunder Richard 
Published: November 2023

Abstract
Although eighteenth-century Viennese keyboard music, especially by such composers as Haydn, Mozart, and Beethoven, is among the most popular ever written, there has been surprisingly little serious research into the instruments for which it was composed. Consequently myths and guesses abound, while accurate and reliable information is hard to come by. This book fills that gap. Based on evidence from primary source material, much of it previously undiscovered or neglected, Maunder traces the history and development of the various keyboard instruments available in Vienna throughout the eighteenth century—harpsichords, clavichords, and pianos—and their use by composers and performers. There are detailed descriptions of many surviving Viennese instruments, several of which have only recently come to light; contemporary newspaper advertisements for over 1200 keyboard instruments are reproduced, in the original German as well as in English translation; and an alphabetical list of eighteenth-century Viennese makers includes much newly-discovered biographical information as well as some previously unknown names.
Terminology
Authors: Maunder Richard 
Published: November 2023

Abstract
A Difficulty with documentary evidence such as newspaper advertise ments is the interpretation of eighteenth-century German terminology for the various keyboard instruments. Although some words, such as Clavicor, Spinet, and Fortepiano, are reasonably specific, others appear to be less so. In particular, the potential ambiguity of Fliigel, which on the face of it simply means ‘wing-shaped instrument’, has led to some misunderstanding. Despite the overwhelming weight of evidence that the term was used by eighteenth-century musicians only for the harpsichord (see below), it is sometimes suggested that it might also have included the similarly shaped fortepiano.1 And Clavier is notorious for its variety of not always consistent meanings. To add to the confusion, in modern German Klavier has come to mean ‘piano’, and Flugel ‘grand piano’.
Germany, 1685-1706
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel was born on 23 February 1685 in Halle, a German city on the river Saale, a substantial tributary of the Elbe. The birthdate is not recorded on the entry in the register recording his baptism (as Georg Friedrich Handel) on 24 February at the Ober-Pfarr-Kirche zu Unser Lieben Frauen (the Rectory Church dedicated to Our Lady, which stands in Halle’s market-place), but it is attested by other biographical sources from Handel’s lifetime.
The ‘Academy’ Years, 1720-32
Authors: Burrows Donald 
Published: November 2023

Abstract
Thus Handel began a letter from London to his brother-in-law in Halle on 20 February 1719. The ‘unavoidable business’ on which Handel’s future depended was the formation of a new opera company at the King’s Theatre, Haymarket, plans for which had been under discussion in London for some time. If Handel felt impatient with progress in February 1719, he probably did not foresee the long haul that lay ahead: the first performance from the new company did not take place until April 1720, and it was another six months after that before it was running with the intended cast of first-rate Italian stars.
The Music Of The 1740s
Authors: Burrows Donald 
Published: November 2023

Abstract
The first half of 1749 marked for Handel the culmination of a creative period that had seen oratorio-type masterworks follow each other with an almost predictable efficiency that bears exact comparison to his best bursts of operatic composition. It is difficult to make relative qualitative judgments between, for example, Samson, Semele, Belshazzar and Susanna -large-scale works with a close similarity of musical style, yet individual in their subject matter and in the roles they portray.
Compositional Context and Critical Reception
Authors: Cooper John Michael 
Published: November 2023

Abstract
‘Great is the power of steady misrepresentation’, wrote Charles Darwin in the sixth edition of The Origin of Species (the last edition published during his life-time). Although Darwin’s words were intended to help correct a number of distortions of the claims he had advanced with his theory of natural selection in 1859, they apply equally well to the Symphony in A Major of Felix Mendelssohn Bartholdy. Like Darwin’s theory advancing natural selection as the mechanism for evolutionary change, Mendelssohn’s masterpiece of 1833-4 continues even today to fall prey to a dense web of misrepresentations, misconceptions, and generalizations born long ago of ill-founded assumptions and fallacious stereotypes, and of the conspicuously ignoble politics of late nineteenth-century historiography.
Composition, Revision, and Early Performances
Authors: Cooper John Michael 
Published: November 2023

Abstract
The problems posed by the compositional history of the ‘Italian’ Symphony have proved baffling from the very beginning of the work’s posthumous reception. As discussed in the Preface to this book, the composer’s friend Julius Rietz simply chose the wrong score as the basis of the first edition, and that version of the work has until very recently been the sole version by which it has been known. Numerous other scholars, working with that version and an incomplete picture of the work’s genesis and sources, have viewed the symphony from a perspective that effectively shows what the work was at one point in its history, but ultimately reveals little about what it became or how it signified the compositional labours of its creator.
Rhythm
Authors: Bazzana Kevin 
Published: November 2023

Abstract
Gould’S Penchant For extreme tempos, apparent throughout his career, has received much comment and criticism. Though many of his tempos fell within the limits of common practice, he often exceeded those limits, sometimes strikingly, and he was willing to depart from a composer’s tempo directions as well as from documentation on historical performance practice. Tables 6.1 and 6.2 show some of his more extreme tempo choices, at both ends of the spectrum, and Table 6.3 shows that he often chose significantly different tempos in repeat performances of a piece.
Articulation and Phrasing
Authors: Bazzana Kevin 
Published: November 2023

Abstract
As A General rule, Gould preferred articulation that can best be described as non-legato or detache (I consider these terms interchangeable). His desire for clarity, so basic to his musical personality, extended to his rendering of phrases and even individual notes. Landowska once remarked that even her staccato was legato; Gould had the opposite priority: even his legato was detache.
Ornamentation
Authors: Bazzana Kevin 
Published: November 2023

Abstract
In The Matter of ornamentation, Gould differed from most performers in the degree to which he avoided generic solutions to individual problems. Adapting ornamentation to articulate a musical event, or to suit the general character of a work, he often permitted himself to depart significantly from conventional and historical practices. While his ornamentation could only occasionally be described as analytical in motivation, it did often contribute to the unity of an interpretation.
Lutos ławski’s Sound-World: A World of Contrasts
Authors: Rae Charles Bodman 
Published: November 2023

Abstract
Lutos ławski’s sound-world, that synthesis of the conceptual and the compositional, is essentially one of contrasts: contrasts of intervallic character and interval combinations; contrasts of harmonic density; contrasts between clarity and blurring; contrasts between the static and the motoric (both in the treatment of motifs and the rate of harmonic change); contrasts of gesture (the expansive against the intimate); as well as obvious contrasts of tension against relaxation. Most of these characteristics, of course, apply to his music in general, not only the pieces for orchestra; but it is particularly through the medium of the orchestra, in which he was able to paint on a large canvas, with a full palette of instrumental colours, that we hear the full range of the composer’s expression and experience the full potency of his ideas, including those of contrast.
Considerations of Symphonic Form in the Music of Lutos ł awski
Authors: Harley James 
Published: November 2023

Abstract
I am often included among the avant-garde and this gives me pleasure. But on reflection the pleasure is somewhat superficial.’ This remark by Witold Lutosławski may seem ofthand, but is, in fact, a remark ably apt description of his aesthetic orientation as a contemporary symphonic composer. At the same time, it serves as touchstone for a consideration of the elements-musical, personal, and historical-that have shaped Lutos ławski’s conception of form.
On the Types of Chain Connections in the Late Music of Lutos ł awski: Some Remarks on Chain 1 for Chamber Ensemble and Chain 3 for Orchestra
Authors: Nikolska Irina 
Published: November 2023

Abstract
Lutosławski worked on the rules of ‘chain’ form, as he himself called it, through out his creative life. By the term ‘chain’ he meant a basic formal principle which links segments of a work with each other. The titles of his three compositions: Chain 1 for chamber ensemble (1983), Chain, Dialogue for violin and orchestra (1984-5), and Chain3 for orchestra (1986) indicate the use of the chain technique, which consists of the overlapping of different musical layers so that they do not start or end at the same time.
Accidentals in Binchois’s Songs
Authors: Brothers Thomas 
Published: November 2023

Abstract
In the course of a survey of late medieval chansons, it seemed to me that there were good reasons to question the commonly held assumption that chromatic inflections were ‘self-evident’ —that is, that they were universally understood by composers, scribes, and singers to such a degree that they did not need to be notated.1 It seemed possible that, at least in some cases—some manuscripts, some pieces, some repertories, some composers, and, as will be the special focus of this study, some functions—notated chromatic inflections were to be taken literally, with no expectation that unnotated inflections would be supplied. The scant commentary from writers of the period offers little help in solving this problem of performance practice. There must be further ways, still unexplored, for making sense of the notated record. The present study explores a quantitative method for doing so, with evidence drawn from the notated record for Binchois’s songs.
Making a Career (1935-8)
Authors: Mccabe John 
Published: November 2023

Abstract
OVER the next few years, Rawsthorne concentrated on composing and trying to make a career for himself (he is reputed to have worked for a short while in a piano showroom, as John Field had done over a century earlier). Gordon Green commented that he ‘fulfilled many routine commissions, scoring other people’s music for this or that combination and gaining valuable experience thereby. In particular, he made arrangements for the Adolph Hallis Quintet, one of those ensembles favoured by the BBC at the time, playing, excellently, music that was both light and good.’
The Salzburg Concertos
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The Salzburg trumpeter Schachtner, friend of the Mozart family, tells how Leopold Mozart examined some ink blobs made by his child, and was astonished at the ‘correct observance of rules’; Wolf gang was four years old and declared that he was writing a concerto for clavecin. This fact proves that he had grown up in a world wherein clavecin concertos were familiar, though the boy knew more of the concert world than of other fields of musical activity. The concerto ,vas the form par excellence for a fashionable concert; sonatas were home music in those days, and the composer who wished to shine in a public concert had to be a performer, so that in the concerto he fulfilled his public obligation of double virtuoso.
Concerto In D Minor, K. 466
Authors: Hutchings Arthur 
Published: November 2023

Abstract
This concerto was selected for examination in Chapter I, since no concerto by Mozart is better known; for many generations it has enjoyed this popularity. Leopold Mozart liked it so much that he tried to perform it with a circle of musical friends in Salzburg, and wrote to tell Wolfgang of his difficulties with the text. Young Beethoven’s fine cadenzas are now almost as sacrosanct as the main concerto, and as there are no original cadenzas available there seems no reason for substituting any other effort for Beethoven’s, unless one is a purist and plays a very short extemporization and a shake.