bluuebunny/crossref_metadata_2025_split huggingface dataset:
One Fateful Year1853
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
By the age of 19, Brahms was a virtuoso pianist, an aspiring and prolific composer, earning a bit of money in various unsatisfactory ways, and virtually unknown. If his musical horizons were broad, his professional prospects were exceedingly limited. He had never been far from Hamburg, and in Hamburg he could hope for little. His good fortune there was limited to having found two gifted and conscientious teachers: after Cossel, Brahms studied with Eduard Marxsen, who fostered not only Brahms’s pianistic, but also his intellectual development.
At Home in Vienna1871-1876
Authors: Avins Styra , Eisinger Josef 
Published: November 2023

Abstract
In every way, the year 1871 was a turning-point. By the end of it, Brahms had a permanent address and a permanent job. After almost two decades spent lodging in temporary quarters or staying with friends and family in Germany or Switzerland, Brahms found himself a flat in the Karlsgasse, Vienna-Wieden IV, and never moved again.
Benjamin Britten
Authors: Elliott Graham 
Published: November 2023

Abstract
Since Britten’s death in 1976, numerous articles and books have been written about his life and work. Much has been made of the strong influences of his pacifism and his homosexuality. It is often suggested that Britten felt himself to be an outsider from ‘normal’ society, and that this accounts for the his concern to portray the ‘outsider’ in his operas. There is no doubt that this is an important aspect of Britten’s art, but the present work attempts to show that his music embraces much wider and more universal concerns, and in addressing those concerns there is a clearly defined pattern of spiritual influence. Part One of the book examines Britten’s early life, and the strong presence which the Church had in his childhood and adolescence. It explores the way in which certain spiritual influences were first manifested, and how, like the more specifically musical ‘themes’ which Donald Mitchell has noted, they can be traced throughout Britten’s life and work. The author was privileged to have conversations with two clergymen who were influential in Britten’s life, as well as gathering valuable insights through a long series of conversations with Sir Peter Pears. Part Two examines a wide range of the composer’s music in which a spiritual dimension can be traced. The specifically liturgical music has received rather less critical notice than Britten’s larger works. The music is discussed here, and shown to possess musical characteristics in common with the larger works. Britten could not be described as a conventional Christian; still less is it true to describe him, as Eric Walter White has done, as ‘keen, wherever possible, to work within the framework of the Church of England’. Nevertheless, his spirituality was rooted in the religious experience of his childhood. This book seeks to demonstrate that Britten retained a sense of the Christian values absorbed in childhood and adolescence, and that these - along with the specifically Christian heritage of plainsong - were strongly influential in his choice and treatment of themes.
The Liturgical Music
Authors: Elliott Graham 
Published: November 2023

Abstract
The previous chapter demonstrates the considerable extent of Britten’s use of the distinctively Christian heritage of plainsong and hymn tunes in a wide variety of works covering the whole of his career. It is surprising to find that despite this particular Christian theme he wrote relatively little music which was specifically for church use. The dearth of liturgical music is less surprising in the light of the known facts of his withdrawal from the organized Church in the 1930s.
Conclusion
Authors: Elliott Graham 
Published: November 2023

Abstract
This quotation could quite easily have been written by Benjamin Britten: it was, in fact, written by Wilfred Owen. Owen expressed his brand of Christian pacifism through words: Britten expressed his own form of pacifism through his remarkable gift for selecting and setting words in a way which enabled those words to speak to the listener with an added potency, a piercing clarity. The imagery of Owen’s most poignant poems of the First World War is often drawn from the story of Christ’s Passion: this book has sought to show the extent to which Britten drew on the traditions of Christianity for the themes with which he was concerned throughout his career.
A Sienese Gentleman
Authors: Reardon Colleen 
Published: November 2023

Abstract
The earliest account of Agostino Agazzari’s career can be found in a miscellany of’diverse facts about Siena’ compiled by the Sienese priest Filippo Montebuoni-Buondelmonti during the papacy of Urban VIII (1623-44). The manuscript includes musicians’ biographies, most penned with such concision that gaps are inevitable: ‘1633: Agostino Agazzari. An excellent organist and an outstanding composer, whose published works number [lacuna].
Warm-Up and Other Basic Exercises
Authors: Schuller Gunther 
Published: November 2023

Abstract
I have brought the prospective student or player to the point where he is able to produce his first note. I have indicated how the note is to be started, held and ended. This is the time then to introduce the subject of long note practice and, with that, the subject of warm-up exercises. Wherever I have travelled there always seem to be a few players who feel—or at least claim to feel—that warming up is not necessary for them. Some of these are indeed excellent players, gifted with natural physical talent for the horn, to whom the warming up that a less natural player requires is anathema. Around such players a kind of myth arises that the warm-up is a waste of time, and only for weak players-that it is a ‘sissy’ approach to the horn.
Some Notes for Composers and Conductors
Authors: Schuller Gunther 
Published: November 2023

Abstract
Being a composer as well as a horn player, I have often been asked advice by fellow composers about the feasibility of given horn part. The horn seems to frighten most composers, especially as regards the extreme registers and such technical miscellanea as trills, the notational question of when to use the bass clef, and the like. The two areas in which composers seem to err most consistently are muting and the use of the low register. I have discussed all aspects of muting in Chapter VII, and I urge any composer or conductor, into whose hands this little book should fall, to read that chapter very thoughtfully.
Enumerating the Settings
Authors: Cooper Barry 
Published: November 2023

Abstract
How many folksongs did Beethoven set, and if he set some of them more than once, how many settings are there altogether? Answers to these questions have varied widely. As was seen in the Introduction, Orrey has indi cated a total of 150 settings of British melodies, while Solomon mentions ‘about 180’ of them. Since it is well known that some of Beethoven’s set tings are of Continental melodies, it is unclear whether Orrey’s and Solomon’s figures are intended to include these too or whether they have been tacitly disregarded.
Economics and Logistics
Authors: Cooper Barry 
Published: November 2023

Abstract
It is easy to forget the considerable practical difficulties Thomson had to face in order to obtain folksong settings from Beethoven. The disruption to the postal service between Vienna and Edinburgh caused by the Napoleonic Wars during the early years of the project resulted in long delays, sometimes of over a year, and the danger of outright loss of the settings sent. Fluctuating exchange rates meant considerable uncertainty about the cost of commissioning settings. The melodies themselves had to be obtained either aurally or through copying from a source which might be corrupt; by the time these melodies had been copied out and sent to Beethoven, who might himself miscopy them, the risk of errors infiltrating was quite high. Moreover, neither man knew the other’s language. Thomson therefore consistently corresponded in French, which Beethoven knew fairly well. Beethoven’s replies were usually also in French; but two of them (15 September 1814 and October 1814) were in Italian, while one of them (7 February 1815) and some of the receipts were in English.
The Chandos Collection
Authors: Beeks Graydon 
Published: November 2023

Abstract
ANOTHER patron who, like Elizabeth Legh, began a collection of Handel’s music before 1720, was James Brydges, from October 1714 Earl of Caernarvon and from April 1719 1st Duke of Chandos. The music of Handel formed only a small part of his music-library, which was an adjunct to his activity as patron of his own private band—the so-called ‘Cannons Concert’ —which provided music at his newly built Palladian seat of Cannons near Edgware. This activity lasted from late 1715 to around mid-1721 when, in response to financial losses from the collapse of the South Sea Bubble (and perhaps also to the inauguration of the Royal Academy of Music), Brydges released almost all his professional musicians.1 Although there was some musical activity over the next few years involving servants and London musicians imported by Cannons’s musical director, John Christopher Pepusch, there is no evidence that the Duke continued to commission music or to add to his music collection in any significant way after 1721.
L
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
LAMBERTY. Paris piano maker in the rue des Vieux-Augustins in 1801. (Place/PARIS, 182)
LAMERS, Albert. Paris piano maker in the rue de Ponceaux in 1790. (Place/PARIS, 182)
LANDRETH, John. London piano maker at Taber nacle Walk, Old Street, from 1787. (Harding/ PIANO, 398)
N
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
NADERMAN, Veuve et Fils (Widow and Son [of Jean-Henri Naderman]) [fl. 1796-1820]. Piano makers in Paris and successors to Jean-Henri Naderman, a famous harp maker, who had emigrated to Paris from Driburg (Paderborn), Westphalia. Their addresses were the rue de Richelieu in 1796; the rue de la Loi from 1799 to 1806; and again at 46 rue de Richelieu in 1820. (Place/PARIS, 183; Weber/MERCKEN, 35 ff.)
P
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
P., G. See PIANTANIDA, G.
PAPAZEK (PAPATSCHEK, PAWATSCHEK),
Joseph (b Jermaritz, Moravia, 1775-d Vienna, 21 Feb. 1822). Moravian piano maker in Vienna. (Ottner/WIEN, 109)
PAPE, Jean-Hemi (Johann Heimich) (b Sarstedt, near Hanover, 1 July 1789-d Asnieres, near Paris, 2 Feb. 1875). Pape was active in Paris from 1811 and his workshop was established in 1815 or 1817. In 1819-20 Pape’s address was 7 rue Montesquieu, while from about 1817 until 1822 he was located at the end of the cour des Fontaines. A later address was 23 rue Croix-des-Petits-Champs.
w
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
WAARUM, C. F. [fl. c.1820-49?). Piano maker in Christiania (Oslo).
1 DATE: [c.1820] STYLE: Square COMPASS: 6 oct.: FF-(4 LENGTH: 165 WIDTH: 74 CASE: Mahogany INSCRIPTION: C. F. Waarum i Christiania NATURALS: [White] SHARPS: [Black] HAND STOPS: None KNEE LEVERS: 1: [forte] PEDALS: None FORMER OWNERS: Norway/[Bergen]: Ole Bull, violinist; Edmond Neupert, Norwegian pianist PRESENT OWNERS: Norway/Oslo: Norsk Folkemuseum, no. 116 REFERENCES: Oslo/NORSK, 71
Z
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
ZATLLASCH, F. I. (fl. 1826 or before 1830). Berlin piano maker. (Hirt/MEISTER, 487)
DATE: c.1820 STYLE: Square COMPASS: l LENGTH: 180 WIDTH: 90 TOTAL HEIGHT: 76
CASE: Mahogany veneer; rounded corners; open music desk; four rounded legs, no casters INSCRIPTION: F. I. Zatllasch in Berlin on an oval label on the nameboard NATURALS: Ivory SHARPS: Ebony HAND STOPS: None KNEE LEVERS: None PEDALS: 1 attached to lyre: damper PRESENT OWNERS: Poland/Poznan: Palace in Arcugowo REFERENCES: Vogel (1989)
Trill Types
Authors: Harrison Bernard 
Published: November 2023

Abstract
As is the case with regard to many other aspects of performance practice, the most comprehensive commentaries on the notation and interpretation of the trill are to be found in C. P. E. Bach's Versuch and subsequently in treatises which were strongly influenced by Bach's magnum opus, chief among which we must count the treatises of Marpurg, Agricola, and Türk. Although it cannot be claimed that Haydn's attitude to performance practice agreed with Bach's in every detail, nevertheless a documentary link between Haydn and two North German treatises, Bach's Versuch and Marpurg's Anleitung zum Clavierspielen, is established. For this reason the treatises of Bach and his followers constitute a central source of information for the present discussion, and Neumann's view of these sources as a local, ‘militaristic’ phenomenon in performance practice must be rejected for the reasons stated in Chapter 5. The ubiquitous question concerning the trill in modern writings on performance practice is, of course, whether an upper-auxiliary or main-note trill is appropriate. North German treatises present a uniform attitude to the question, consistently advocating an upper-auxiliary start. Concerning ornaments in general Bach states that ‘the other voices including the bass [i.e. those voices not containing the ornament] must be struck with the initial tone of an embellishment’ and specifically in connection with the trill he states that ‘Since it always begins on the tone above the principal note, it is superfluous to add a small note … unless this note stands for an appoggiatura.’
Word Order, Information Structure, and Centering in Turkish
Authors: Hoffman Beryl 
Published: November 2023

Abstract
In this chapter, I investigate the interaction between centering theory and word order in a ‘free’ word order language, i.e., Turkish. In “free’ word order languages, e.g., Czech. Finnish. German, Hindi, Hungarian, Japanese, Korean, Polish. Russian, Turkish, Urdu, the word order serves to structure the information being conveyed to the hearer by indicating what is the topic and the focus of the sentence. These discourse-related notions, which will be defined more thoroughly in the next sections, form the information structure of the sentence. I will argue that centering and information struc ture have different roles in discourse processing. The information structure of a sentence instructs the hearer on how to update his/her discourse model with the information in the sentence, while centering serves to link the sentence to the prior context.
Centering, Anaphora Resolution, and Discourse Structure
Authors: Walker Marilyn 
Published: November 2023

Abstract
Centering was formulated as a model of the relationship between attentional state, the form of referring expressions, and the coherence of an utterance within a discourse segment (Grosz, Joshi. and Weinstein 1986, 1995). In this chapter, I argue that the restriction of centering to operating within a discourse segment should be abandoned in order to integrate centering with a model of global discourse structure. The within-segment restriction causes three problems. The first problem is that centers are often continued over discourse segment boundaries with pronominal re ferring expressions whose form is identical to those that occur within a discourse segment. The second problem is that recent work has shown that listeners perceive segment boundaries at various levels of granularity.
Poulenc, La Voix, Et L’Amour
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
Despite his partiality for the dance—so exuberantly manifest in the two-piano concerto—Poulenc was convinced that ‘essentially I am a man of song in all its forms’. Whereas he had shaky confidence in his ability to handle large instrumental forms he was, in the basic song-form of the ‘melodie’ with piano accompaniment, ‘afraid of no-one’, proud that there was something he could do better than most. Few would now doubt that some of the songs he wrote in the 1930s and 1940s are, however restricted their genre, great music. For these songs Poulenc did not abandon the poets who had moved him in early youth, though he added others, notably Paul Eluard, who ‘always brought out the best in me’. But the first song-cycle of the 1930s,
Introduction: Step by Step
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
The Year 1909 Represented A Significant Milestone In The Passage From The Romantic Period To The Modern. German Expressionism Was In Full Career As Wassily Kandinsky Painted His First Abstract Compositions And Arnold Schoen Berg Experimented With Atonality In His Monodrama Erwartung And The Five Orchestral Pieces, Op. 16. Igor Stravinsky Began Collaborating With Sergey Diaghilev On The Firebird Ballet For Its 1910 Premiere In Paris, Where Pablo Picasso Was Laying The Foundation For Cubism In His Paintings Harlequin And Ambroise Vollard. Sigmund Freud Lectured To American Audiences On Psy Choanalysis, And Frank Lloyd Wright Designed His Innovative Robie House In Chicago. The King Who Gave His Name To A Decade Of Relative Calm And Prosperity, Edward Vii, Was In The Last Full Year Of His Reign.
The Phenomenon (1860-1875)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
AT the end of his life, Ulysses S. Grant penned the memorable phrase, ‘I think I am a verb instead of a personal pronoun’.1 Isaac Albeniz2 was an adjective and a noun. The word albeniz comes from the Basque language3 and means skinny, slender, or thread-like; it can also mean short or clever, in a devious sort of way. As a noun, it translates as a thread, strand, or even an abundance of hay.4 By coincidence, all of the above adjectives applied to Albeniz in his early years, as he was thin, short, and exceedingly ingenious. Ironically, in adulthood he became rather corpulent and self-deprecatingly signed his letters ‘Saco’ (‘Sack’), ‘El Gordo’ (‘The Fat One’), or ‘Saco gordo’ (‘Fat Sack’), a play on the second syllable of his first name. The mature Albeniz was anything but albeniz, at least in the principal sense of the word!
The Legacy of Albéniz
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
The impact of Albeniz’s life and work obviously did not end with his funeral. The fact that a major publisher has contracted this book strongly suggests that Albeniz continues to be a vital presence in the canon of western music. Thousands of recordings of his music have been made, and no less than forty publishing houses have printed his works.1 And Albeniz exerted a discernible influence on succeeding composers. Yet, his output was undeniably uneven in quality, and the only part of it to hold a place in the repertoire is a portion of the piano music. The rest of the piano pieces, stage works, and songs have slid into obscurity. Despite the enormous creative energy he poured into his operas in particular, his reputation has reaped relatively little benefit from them. Why? We might begin to answer this question by briefly tracing the fate of his operas to tl1e present day.
Tomaso Albinoni’s Pimpinone and the Comic Intermezzo
Authors: Talbot Michael 
Published: November 2023

Abstract
The Pimpinone of Tomaso Albinoni (1671-1751) belongs to a distinct group of some twenty sets of comic intermezzi written for the Venetian stage in the period 1706-9.1 These short dramatic works, which pioneered an important new genre, included several that, like Pimpinone, immediately became repertory favourites performed year after year all over Italy and beyond. If Pimpinone is today somewhat better known than its companion pieces in the early intermezzo repertory, such as the intermezzi for the characters Lisetta and Astrobolo, or Pollastrella and Parpagnacco, or Palandrana and Zamberlucco, the main reason is probably that the publication, in 1936, of a modem edition of Telemann’s later setting (1725) of the same libretto, slightly adapted and partly translated into German, stimulated curiosity about the original setting and its possible relation to Telemann’s music.2 Such speculation was eventually ended when a score of Albinoni’s setting was tracked down and found to contain entirely different music (the very difference, of course, provoked further study directed towards a comparison of the two settings).
The Mature Style
Authors: Wegman Rob C 
Published: November 2023

Abstract
Somewhere in the four years between 1487 and 1491 Obrecht hit upon a creative formula that unlocked his full artistic potential. This discovery was the central turning-point in his career. The few securely dated works on either side of the four-year period leave no doubt that he virtually underwent a creative rebirth. On the one side are the masses of 1486-7, in which Obrecht is still a searching, exploring composer.
Symphony No. 55 (1774)
Authors: Haimo Ethan 
Published: November 2023

Abstract
With the exception of the first movement of Symphony No. 21, every one of the movements analyzed to this point has either been a sonata form or a menuet. This is neither accidental nor the result of a purposefully skewed selection. Although other formal types do make occasional appearances, the plain fact is that sonata forms (including binary variants) and menuets constitute the overwhelming majority of Haydn’s early symphonic forms.1 Beginning with works from the 1770s, other formal types start to take on increasing prominence. (Surely it cannot be coincidental that the gradual rise in the use of these formal types is mirrored by the almost total disappearance of binary variants.)
Conclusions
Authors: Hurley David Ross 
Published: November 2023

Abstract
Handel composed with remarkable speed. What this tells us depends upon our own preconceptions, or as Philip Gossett would have it, upon the point we are trying to make. While Rossini has been criticized for writing quickly (unlike a ‘serious’ composer such as Beethoven), facility is often interpreted as merely another proof of Mozart’s genius. As Gossett has noted, ‘the aesthetic quality of a work of art, the extent to which it has endured or will endure, is not a function of its period of gestation. Let us purge this diction from our critical vocabulary’.
Introduction: Celebrating Transgression and Excess: Busnoys and the Boundaries of Late Medieval Culture
Authors: Higgins Paula 
Published: November 2023

Abstract
I can’t live like this any longer unless I have some comfort for my pain; just one hour, or less-or more; and every day I’ll serve the god of love faithfully unto death.) When Antoine Busnoys penned the poem containing the lines above, he embedded in them an acrostic yielding the name of a woman: one ‘Jaqueljne d’Aqvevjle’ ( Jacqueline d’Hacqueville). In so doing he broke the cardinal rule of courtly love: a commitment to absolute secrecy.
Musical Politics in Late Medieval Poitiers: A Tale of Two Choirmasters
Authors: Higgins Paula 
Published: November 2023

Abstract
Ate medieval composers typically acquired their earliest musical training as choirboys in the maîtrise (choir school) of a collegiate church or cathedral, yet remarkably few details about their musical education have survived. Only for a handful of men can we identify the church in which they served as choirboys and pinpoint masters who in all probability supervised their musical studies and nurtured their nascent talents.
Text, Tone, and Symbol: Regarding Busnoys’s Conception of In hydraulis and its Presumed Relationship to Ockeghem’s Ut heremita solus
Authors: Bentrem Jaap Van 
Published: November 2023

Abstract
In the early eighteenth century, Rembrandt’s most fan10us painting, De Nachtwacht (The Night Watch), was moved from the Kloveniersdoelen, the building for which it was originally intended, and installed in the Town Hall of Amsterdam (today the Royal Palace on De Dam). As a result the painting had to be altered to suit its new physical surroundings: strips were cut off, foreshortening the painting’s left side in particular.