bluuebunny/crossref_metadata_2025_split huggingface dataset:
Alzira
Authors: Parker Roger 
Published: November 2023

Abstract
Tragedia lirica in a prologue and two acts set to a libretto by Salvadore Cammarano after Voltaire’s play Al1ire, ou Les A mericains; first performed in Naples, Teatro San Carlo, on 12 August 1845. The cast at the premiere included Filippo Coletti (Gusmano), Gaetano Fraschini (Zamoro), and Eugenia Tadolini (Alzira). There were two reasons why Al1ira, Verdi’s eighth opera, was something of a special event. It was the first he had written specially for the famous Teatro San Carlo in Naples, and so offered him the opportunity to con front a significant public and theatre with whom he had so far had little success. More than this, it presented a chance to collaborate with Salvadore Cammarano, resident poet at the San Carlo, certainly the most famous librettist still working in Italy, and renowned for his string of successes in the previous decade with Gaetano Donizetti.
Jérusalem
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in four acts set to a libretto by Alphonse Royer and Gustave Vaez after Temistocle Solera’s and Verdi’s earlier opera I Lombardi alla prima crociata; first performed in Paris, Opera, on 26 November 1847. The cast at the premiere included Gilbert Louis Duprez (Gaston), Charles Portheaut (the Count), Adolphe Alizard (Roger), and Esther Julian van Gelder (Helene). The great Paris opera house, the Academie Royale de Musique (often sim ply called the Opera), had been making overtures to Verdi for some two years when, in the summer of 1847, he signed a contract to supply the theatre with a ‘new’ work by November of that year. As had Rossini and Donizetti, Verdi offered for his debut at the Opera a revision of one of his earlier Italian operas; with the help of Royer and Vaez, both of whom had considerable experience in such matters, he fashioned a French version from I Lombardi alla prima crociata, first performed in 184 3 and not previously seen in Paris. The librettists retained little of the original plot apart from its basis in a crusade: in vocal terms, the lovers Giselda and Oronte become Helene and Gaston, the warring brothers Arvino and Pagano become the Count of Toulouse-now a baritone rather than tenor-and Roger. As well as adding the obligatory ballet, Verdi decided on some wide-ranging structural changes, adding much new music, cutting what he considered weak or inappropriate, and leaving only a few of the original numbers in their former positions. Jerusalem was well received in Paris. However, and in spite of being in many ways superior to / Lombardi, the opera failed to establish itself in either the French repertory or (retranslated as Gerusalemme) on Italian stages. It is today only occasionally revived. The following summary will mention musical detail only in passages new to the revised opera.
La battaglia di Legnano
Authors: Parker Roger 
Published: November 2023

Abstract
Tragedia lirica in four acts set to a libretto by Salvadore Cammarano after Joseph Mery’s play La Bataille de Toulouse; first performed in Rome, Teatro Argentina, 27 January 1849. The cast at the premiere included Filippo Colini (Rolando), Teresa De Giuli Borsi (Lida), and Gaetano Fraschini (Arrigo). The revolutions that swept through Italy and much of the rest of Europe in 1848-and in particular Milan’s ‘cinque giornate’, when in five days of tough street fighting the Milanese forced the Austrians temporarily from their city-inspired Verdi to attempt an opera in which the theme of patriotism would be overt. Together with his librettist Cammarano, he decided to compose an opera set in twelfth-century Italy, the epoch of the Lombard league, adapting for the purpose a recent French drama. Work on La battaglia di Legnano took up most of 1848, and by the time it was finished Milan and many other cities were long back in Austrian hands. But Rome was still a beleaguered republic, and the premiere of the opera took place there in what must have been highly charged circumstances. It was a clamorous success, with the entire final act encored. Understandably, though, the opera was extremely difficult to get past the censors in the repressive, counterrevolutionary atmosphere of the 1850s; and it is in this context hardly surprising that La battaglia failed to make its way in the 1850s. Even before the first performance, Verdi’s publisher Ricordi had approached Cammarano about a ‘sanitized’ version (that is, with a setting removed from Italy), and although L’assedio di Arlem (set in the Flemish-Spanish wars) had a few outings, it never established itself. In the mid-185os Verdi voiced an intention of rehabilitating La battaglia by subjecting it to a thorough revision; but his ideas came to nothing, and the work virtually disappeared from the theatre until its occasional modern revival.
Simon Boccanegra
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in a prologue and three acts set to a libretto by Francesco Maria Piave (with additions by Giuseppe Montanelli) after Antonio Garcia Gutierrez’s play Simon Bocanegra; first performed in Venice, Teatro La Fenice, on 12 March 1857. The revised version, with additions and alterations by Arrigo Boito, was first performed in Milan, Teatro alla Scala, on 24 March 1881. The cast at the 1857 premiere included Leone Giraldoni (Boccanegra), Giuseppe Echeverria (Fiesco), Luigia Bendazzi (Amelia) and Carlo Negrini (Gabriele). For the 1881 revised version the cast included Victor Maurel (Boccanegra), Edouard de Reszke (Fiesco), Anna D’ Angeri (Amelia), and Francesco Tamagno (Gabriele). Verdi was approached to write a new opera for the Teatro La Fenice in Venice, in the spring of 1856, at the instigation of the librettist Francesco Maria Piave. (His last premiere there had been another Piave opera, La traYiata in 1853.) By May of that year a contract had been agreed with the theatre, the subject to be Gutierrez’s play Simon Bocanegra; Piave set to work according to precise instructions from the composer. In fact, Verdi himself supplied a complete prose sketch of the action, one so detailed that he insisted that his sketch rather than a draft of the libretto be submitted to the censors for approval. From August 1856 Verdi was in Paris, and in part because communication was difficult with Italy-based Piave, he took on a local collaborator, the exiled revolutionary Giuseppe Montanelli, who drafted several scenes. Verdi began composing in the autumn of 1856; as the date of the premiere approached, he showed his usual close concern with the staging and choice of performers. The premiere was only a moderate success; the libretto in particular received some harsh criticism. Subsequent revivals in the late 1850s were occasionally successful, although the 1859 La Scala premiere was a complete fiasco.
Falstaff
Authors: Parker Roger 
Published: November 2023

Abstract
Commedia lirica in three acts set to a libretto by Arrigo Boito after William Shakespeare’s plays The Merry Wives of Windsor and King Henry IV; first performed in Milan, Teatro alla Scala, on 9 February 1893. Verdi, who by the time he came to write his last operas was a national monument, talked intermittently of writing a comic opera during the latter part of his career, but never found a libretto to his taste until some two years after the success of Otelia in 1887. His librettist for that opera, Arrigo Boito, suggested a work largely based on Shakespeare’s The Merry We Yes of Wendsor. Verdi was immediately enthusiastic about Boito’s draft scenario, made relatively few structural suggestions, and by August 1889 even announced that he was writing a fugue ( quite possibly the comic fugue that ends the opera). Composer and librettist worked closely together during the winter of 1889-90, and by the spring of 1890 the libretto was complete. The composing of the opera took a considerable time, or rather was carried out in short bursts of activity interspersed with long fallow periods.
The Performers
Authors: Rushton Julian 
Published: November 2023

Abstract
The performers of Mozart’s operas were primarily singers, a class of musicians about whom the quantity of biographical information, despite major research undertaken in recent years, is highly variable. We may trace the entire career of Nancy Storace, but for other singers even dates of birth and death have not been established.
Mozart played little or no part in choosing singers for his operas. Nevertheless, his well-known concern to write effectively for them conditioned his working methods. Awaiting the arrival of a singer in Milan, his father wrote: ‘Wolfgang refuses to do the work twice over and prefers to wait for his arrival so as to fit the costume to his figure’ (letter of 24 November 1770). Writing home from Mannheim (28 February 1778), Mozart echoed this remark in connection with concert arias for Raaff, Dorothea Wendling, and Aloysia Weber: ‘I like an aria to fit a singer as perfectly as a well-made suit of clothes’. Many operas of the time were only performed during one season, even if they were successful, like Mozart’s Milan opere serie.
The Romanesca
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
for the patrons of gallant music, making informed judgments about compositions and their performances required familiarity with the important schemata of the style. For the composers, making works worthy of praise required being able to produce exemplars of every schema correct in every detail. The more passive knowledge of patrons could be gleaned from frequent listening to the typical phrases of gallant music. The active, operationalized knowledge of composers was carefully taught to them by music masters— maestros. The greatest maestros of the age worked in Italy, and they developed a unique method of instruction centered on the pertinent—the instructional bass. A pertinent resembled the bass part given to eighteenth-century accompanists, with the difference being the lack of any other players or their parts. The pertinent was the bass to a virtual ensemble that played in the mind of the student and became sound through realization at the keyboard. In behavioral terms, the pertinent, which often changed clefs temporarily to become any voice in the virtual ensemble, provided a series of stimuli to a series of schemata, and the learned responses of the student resulted in the multivehicle fabric of a series of phrases and cadences. From seeing only one feature of a particular schema—any one of its characteristic parts—the student learned to complete the entire pattern, and in doing so committed every aspect of the schema to memory. The result was fluency in the style and the ability to “speak” this courtly language.
The Prinner
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
gallant society valued polite y et playful conversation. In the skillful turn-taking that animated courtly banter, the ability to come up with an elegant riposte was at least as important as the ability to lead off. The slyest, most teasingly ambiguous opening gambit could fall flat if no one found a riposte to counter it. The chosen riposte could be effective even if it were conventional—perhaps an old saying or proverb—as long as it was employed with a certain flair at just the right moment. An ill-chosen riposte could be a social disaster. Isabelle de Charier (1740–1805) was a brilliant, highly educated woman in courtly society at The Hague. She had real gifts as a writer, and many critics feel that her letters are among the finest of her time. In 1764 she wrote to her secret male correspondent about a young man who had the notion of marrying her. Her letter mentions that she had asked the suitor, alluding to Corneille’s French tragedy about an ancient Roman general, “Do you know Cana?” The poor man, guessing she must be referring to something in antiquity, responded, “Oh yes, I read it in Latin.”1 His riposte doomed him.
A Theme and Variations by Carl Ditters von Dittersdorf
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
the string qua rets of Carl Dotters von Dittersdorf (1739–1799), though contemporaneous with the onset of the French Revolution, nonetheless suggest the continuity of tradition, the stability of the ancient régime, and the careful refinement of decades of gallant musical craftsmanship. Dittersdorf was fully conversant with the rapidly developing styles of quartet writing in Vienna. He had, after all, played in a string quartet whose members included Haydn, Mozart, and Johann Baptist Withal (1739–1813), with Dittersdorf likely taking the first violin part. Yet he had a conservative temperament. Over fifty years had passed since the publication of the minuet by Somas discussed in chapter 5, but the organization of the theme from the variations movement of Dittersdorf’s second string quartet is fully comparable with the model set down by that earlier Italian master.
A Grave SOSTENUTO by Baldassare Galuppi
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
ha d there been opinion polls in the eighteenth century, Baldassare Galuppi (1706–1785) would have been among the most frequently named as “greatest composer.” Not only were his operas and sacred works tremendously popular, but he enjoyed great esteem among musicians owing to the obvious high quality of his work. For over forty years the great courts of Europe vied for the services of the lauded chapel master of St. Mark’s in Venice, and young musicians everywhere carefully studied his scores.
AN ALLEGRO by Carl Ditters von Dittersdorf
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
in size and scope, the Allegro from Dittersdorf’s sixth string quintet far surpasses the movements presented in previous chapters. More notes are played in its first eight bars than in all of the Somas minuet in chapter 5. Yet Dittersdorf’s writing is still largely grounded in the Italian gallant. It was his “mother tongue,” taught to him from about age twelve by Giuseppe Bonn (1711–1788), who had been sent to Naples by Charles VI to study with Durante and Leo. So Dittersdorf, like Haydn, was a direct product of what the French came to describe as l’école d’Italie1—the Italian School.
An Andante by Johann Christian Bach
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
The small is great, when it is natural—fluent and lightly scored and solid in its composition. To compose like that is more difficult than to write all the artificial harmonic progressions incomprehensible to most people, and melodies difficult to perform. Did Bach lower himself by this? Never! Good writing and the ordering of things, il filo [the thread]—this distinguishes the master from the bungler, even in trifles.1 Leopold was seeking to influence his son by invoking a name that the younger Mozart held in high esteem. “Bach,” however, meant Johann Christian Bach (1735–1782), Italian trained, Catholic like the Mozarts, and master of music to Queen Charlotte of England. And though Mozart did eventually acquaint himself with some music by Bach’s less well known older brother (C. P. E.) and deceased father (J. S.), he always viewed the Bach who had written operas for Naples as the great model, the man whose style he worked to emulate more assiduously than any other during his early years.
A Larghetto by Leonardo Leo
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
the words came first in gala toper a. To an expert on early eighteenthcentury music, that is obvious. Yet since relatively few readers of this volume may have that expertise, permit me to continue with a series of similar statements that, while obvious to a few, are yet worth repeating given the long reign of opera serial as the absolute ruler of the gallant musical world.
An Allegro by Wolfgang Amadeus Mozart
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
“for beginners” (furan finger) was a phrase once attached to the sonata KV545, though few beginners play it well. The subtitle does, nevertheless, hint at the infantilizeton of gallant music by later generations. Mozart’s Allegro, which by gallant standards was a remarkably sophisticated and advanced composition, seemed childishly simple to Romantic pianists more accustomed to the physically demanding works of Schumann, Liszt, or Rubenstein. No longer hearing a discourse of courtly schemata, their attention turned to the movement’s lack of bravura, chromatic harmonies, remote modulations, and perceived drama or narrative. While still allowing for Mozart’s continued high status and for the work’s origin at roughly the same time as his most revered symphonies, the Romantics reconceived his Allegro as propaedeutic—one of the worthy “steps to Parnassus” to be climbed by the apprentice pianist. Its many ascending and descending scales in sixtenth notes no doubt echoed the earnest “methods” for the training of young players. The work scrupulously avoids physical demands that would have exceeded the ability of a talented child executant—much of the time only a single note is played in each hand, and smaller hands need only stretch to the occasional octave. At no time do more than three notes need to played in a chord, and then only within the span of a seventh.
Complex Diseases: Molecular Genetic Contributions To Elucidation Of Etiopathogenesis Of Late-Onset Neurodegenerative Diseases
Authors: Smith Moyra 
Published: November 2023

Abstract
In complex diseases, genetic factors and environmental factors both play a role, and disease manifestations often occur later in life. Single gene defects may play the most important role in some forms of these diseases; often these constitute the rare forms of that disease and age of onset is somewhat earlier. Identification of genes involved in these rare earlier onset forms has provided great insight into the disease processes, and these insights are also relevant to the pathogenesis of the later onset forms. This is true, for example, in Parkinson disease (PD) and Alzheimer disease (AD). More often there is evidence that genetic susceptibility, determined by a number of different genes, inter- acts with specific environmental factors to lead to late-onset disorders. The specific changes or alteration in the genes that influence risk of late-onset disorders may occur with relatively high frequency within the population and be classified as polymorphisms.
Pharmacogenetics And Pharmacogenomics
Authors: Smith Moyra 
Published: November 2023

Abstract
Recent developments in genomics have led to significant changes in strategies for drug design. Rognan (2007) reviewed chemogenomic strategies and noted that changes are based on the following: The availability of genome sequences of at least 180 different organisms High-throughput miniaturization of chemical synthesis The potential for biological evaluation of multiple compounds and their effects on gene and protein expression
Going to School
Authors: Marschark Marc 
Published: November 2023

Abstract
After deciding which language they want their deaf child exposed to during the preschool years, deciding on what kind of school they want for their child to attend is perhaps the most difficult decision parents have to make. As this chapter will make clear, the choice of schools may “lock in” the language decision until children are either able to learn a second language or until parents abandon one system that does not fully meet their child’s needs and attempt to “start over” with another. This is not to say that it has to be this way, just that it is.
Learning to Read and Write
Authors: Marschark Marc 
Published: November 2023

Abstract
This chapter is about literacy, and specifically the kind of literacy of greatest interest to most parents and teachers of deaf and hearing children: the ability to read and write in English.1 But there are different kinds and definitions of literacy. According to the Oxford English Dictionary, the original sense of the term literacy related to the assumption that anyone who understood the idea of combining letters of the alphabet —the basic building blocks of written language —could use it in a creative, appropriate way to get and use an education. Thus, we refer to people becoming “lettered” or acquiring “knowledge of letters,” and “Doctor of Letters” is considered a prestigious, if largely ceremonial, title for the honorary college degrees conferred on politicians and celebrities.
Where Do We Go From Here?
Authors: Marschark Marc 
Published: November 2023

Abstract
The preceding chapters have discussed what it means to be deaf technically, practically, and culturally. They have examined a variety of issues confronting children who grow up deaf, as well as their parents and teachers. In discussions of everything from language to laws and from education to cochlear implants, the emphasis has been on providing deaf children with access to all that they need for normal and successful lives. Beyond this, however, there is much more.
Through A Glass Darkly: Reading the History of the Vietnamese Communist Party, 1945–1975
Authors: Quinn-Judge Sophie 
Published: November 2023

Abstract
During its three decades of war, North Vietnam was a complex, evolving organism, subjected to extreme internal and external pressures. But the further away we get from the war, the more the complexities of Vietnamese politics are likely to be forgotten. The biggest pitfall in our writing about wartime Vietnam is still our eagerness to generalize about “the enemy.” This may be a consequence of our lack of documentation on decision-making processes in the Democratic Republic of Vietnam (DRV). We see only small glimpses of the daily debates and accommodations that would go on in any political movement, in contrast to the vast amount of documentation that we possess on U.S. policy development. We can follow month by month Robert McNamara’s or Lyndon Johnson’s agonizing over their choices, but still have to speculate about much that occurred in Hanoi. Our tendency to generalize also grows out of oversimplified views of communist systems as brutally efficient and monolithic, lacking the subtle grays of Western politics. The Stalinist model has led to an assumption that communist leaders are invariably all-powerful. It is striking, for example, how many writers allow Vo Nguyen Giap to personify the DRV’s military leadership or who use Ho Chi Minh as shorthand to represent the North Vietnamese politburo. Lyndon Johnson’s habit of describing policy in terms of how “Old Ho” would react is not atypical. These conventions betray real ignorance of the day-to-day workings of the DRV political system—as there appear to have been significant periods when neither man played a leading decision-making role. The contested side of major decisions and the acrimony surrounding them, however, are not things that communist parties like to publicize. Party historians in Hanoi have been content to let Ho Chi Minh’s image stand as the iconic representation of communist power.