bluuebunny/crossref_metadata_2025_split huggingface dataset:
Reading Film and Rereading Opera: From Armide to ‘Aria’
Authors: Cook Nicholas 
Published: November 2023

Abstract
The Arm/De Sequence from ‘Aria’ is based on the opera of that name by Jean-Baptiste Lully, first staged in 1686, and it is located at the intersection of two dimensions of intertextuality. What might be called the horizontal dimension concerns the collaborative nature of ‘Aria’.1 All films are collaborations between directors, actors, technicians, and producers (the list could be extended indefinitely); but ‘Aria’ is something more, for it consists of ten loosely linked sequences by ten different directors. Apart from Jean-Luc Godard, who directed the sequence based on Armide, the list includes Robert Altman. Derek Jarman, and Ken Russell. Each sequence is based on a different opera-sometimes just one number, sometimes excerpts from several-and in addition to Lully the composers include Rameau, Wagner, Verdi (no less than three sequences are based on Verdi operas), and Korngold. Each sequence is more or less self-contained, however, and in this chapter I shall be concerned exclusively with Godard’s visualization of Armide.
Dragonetti ‘s Death and Estate
Authors: Palmer Fiona M 
Published: November 2023

Abstract
DEAR srn,-Suffering myself from the consequence of a very serious accident, but being informed that Dragonetti was dangerously ill, I limped on Thursday last to his residence to see him.
I was informed by his friend Mr. N. that I could not see him, and that there were many persons waiting there for that purpose, but could not be allowed to do so, Dragonetti being too ill. I rested myself in an apartment for some time; at last Mr. N. receded, shaking his head, to whom I said, to mention to Dragonetti Mr. Stumpff would be glad to see him, which wish he complied with. On returning, he said, Mr Dragonetti would be glad to see me. I found him in his bed; on beholding me, he stretched his hand towards me, which I pressed warmly, saying-’That was the hand Beethoven desired me to press, and which I came here to perform now in my own name, as well as that of his great friend Beethoven, who is now composing sublime symphonies in purer regions. At this moment his withered countenance visibly cleared up and grew animated, uttering-’{ am glad to see you very much.’ Being desired by Mr. N. to make my visit short, I pressed his hand very hard, uttering ‘God bless you, my dear sir, for ever’.
Constraints
Authors: Bayton Mavis 
Published: November 2023

Abstract
Subcultural theorists (Hall and Jefferson 1976) took for granted young people’s ability to choose what to do in their leisure time, and thus merely addressed the question of how their choices should be interpreted. In contrast, Frith (1983) argued that different leisure patterns are a reflection, not so much of different values, as of the different degrees of opportunity, restriction, and constraint that are afforded to different individuals and social groups. A particular leisure pursuit may be made easy or difficult for an individual according to their social structural position, gender (along with class, ‘race’, etc.) being one aspect of such societal location. Frith’s argument was that, for everyone, leisure, consumption, and style involve a relationship between choice and constraint. I wish to argue that such constraints are crucial to the explanation of women’s absence from rock. I shall be considering the degree to which gender operates within the different social classes. One thing which stands out, however, is the extent to which girls and young women in all social classes and ethnic groups are restricted in their leisure pursuits compared to boys/young men. It is important to note that there are both material and ideological constraints in operation. In reality, of course, these two are closely interrelated. (For instance, lack of access to equipment is an important material constraint, but one of the reasons for its denial is ideological.) However, for the sake of analytical clarity I shall endeavour to separate them.
Early Years in Bohemia
Authors: Stockigt Janice B 
Published: November 2023

Abstract
On 16 October 1679 Jan Lukáaš [Dismas] Zelenka was baptized in the Catholic parish church of Lounovice, a small Bohemian village south-east of Prague close to Blaník, that Bohemian mountain with great national and patriotic resonances. Zelenka came from a distinguished lineage of talented Bohemian musicians of the seventeenth and eighteenth centuries, all of them progeny of village organist-cantors.
Zelenka’s Late Style
Authors: Stockigt Janice B 
Published: November 2023

Abstract
The Hasse-led, court-supported incursion into Dresden of a new musical style presented Zelenka with a dilemma. Despite earlier experiments with galant mannerisms, and notwithstanding compositional efforts to display the vocal talents of the Italian-trained singers who had come to Dresden, new musical values must have worked against much of what Zelenka most esteemed. Into his musical style, so rich in expressive harmony, with bass lines strong in their movement, unusually balanced phrases, and melodic motifs bursting with developmental possibilities, had to be incorporated simpler, slower-moving harmonic structures, Trommelbass, symmetrical phrases, and above all, supremacy of the melodic line. One suspects, moreover, that the language of liturgical Latin texts aroused more musical ardour in Zelenka than did secular Italian.
Afterlife
Authors: Stockigt Janice B 
Published: November 2023

Abstract
On the immediate fate of Zelenka’s music much reliance must be placed on the work of Moritz Fürstenau (1824–89) who, at the time of writing Zur Geschichte der Musik und des Theaters am Hofe zu Dresden, was curator of the Royal Private Music collection.1 In this work, Fürstenau wrote: ‘After the master’s death, his complete musical estate was bought and integrated into the Royal Music collection of Dresden where it [remains]’2. Fürstenau further informs us that following the death of Maria Josepha (1757) her rich music collection, which included works of Zelenka, was divided between the library of the Dresden court church and her daughter-in-law, the musically talented Maria Antonia, the young widow of the Electoral Prince Friedrich Christian.3 Zelenka’s liturgical music, according to Fiirstenau, continued to be heard in the Catholic court church of Dresden at least until 1763;4 evidence exists that it was performed beyond that year.5
A
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Aarestrup, Jens Peder Smidt (b 1827-d Bergen?, 1893). Maker of upright pianos at Smaastrandgaden 9 in Bergen, Norway. Aarestrup’s factory was established in 1857 and sold to H. S. Riisna:s in 1886. (Kjeldsberg/ PIANO, 85) Abate, Stefano (fl. late 1830s to c.1853). Dealer and maker in Milan. In the late 1830s Abate and Caspar Lorenz held a patent for soundboard improvement.
C
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Cadby, Charles (fl. 1839-85). The Charles Cadby Patent Pianoforte Manufactory was first listed at 21 Alfred Street, Tottenham Court Road, Bedford Square, in London. From 1848 to 1863 the firm was listed at several numbers in Liquorpond Street (e.g. 33½, in 1850, and 38 and 39 in 1855). By 1860 they had added 42 New Bond Street, and in 1869 their address was Little Tothill Street, Little Grays Inn Lane. Renamed Charles Cadby and Son, the company listed their address as ‘Near Addison Road Station’. Charles Cadby and Co.
D
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Dainty, William, and Harrison (fl. 1843-71). London piano makers, listed at 29 Newman Street, Oxford Street. (Harding/PIANO, 408) William Dainty was listed alone in 1850. (PO 50)
Dale, Daniel (fl. 1835—74). London piano maker, established at 6 Surrey Grove, Old Kent Road. After 1837 he was listed on Wellington Place, Albany Road, Old Kent Road. (Rob 40, Wat 55) The address was modified in 1860 to 3 Albany Road, Camberwell.
H
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Haake, Karl (est. 1836). Maker in Hanover, Germany. (Dolge/Pianos, 447) Hack, Robert if!. 1839—42). London maker at 22 Bedford Street, Bedford Row, and 4 Gray’s Inn Passage (Pigot 39; Rob 40) and later at 4 Gray’s Inn Passage. (Harding/ Piano, 411)
K
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
K & C (Klauber, or Kleber, & Colby?). Dolge identified the partners of the K & C firm as Klauber & Colby. No reference could be found to Klauber; however, there was the firm of H. Kleber & Bro. in Pittsburgh, and Colby was located in Erie, PA. The University of Cologne, owners of the piano listed below, do not give any details of the makers or the place of manufacture. If the piano was made in the United States, the makers were probably Kleber and Colby. See Kleber, H., & Bro.
M
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Maas,]. (fl. c.1852). Maas, active in Berlin, Ontario, is said to have made the first Canadian upright piano. (Kelly/Downup, 114) Mccullough. (fl. 1850s). Maker in Belfast, Ireland. (Ehrlich/Piano, 34). McDonald,James andJohn (fl. 1847 [or 1845]-70). Piano makers in New York. Calling their firm by different names — McDonald &Brother, McDonald Brothers, and McDonald & Company — these brothers remained in business for more than twenty years. In 1853 they exhibited a piano at the New York Crystal Palace.
N
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Nachtsheim, Christophe (b Bonn, 1793—d Brussels, 1861). German maker active in Brussels, where he worked from about 1837. Nachtsheim was associated, probably as a journeyman, with the maker Herman Lichtenthal until about 1850, when he opened his own shop. In 1859 his address was 13 rue de Louvain. At his death his son Theodore (fl. 1861—after 1875) became head of the firm.
O
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Oakey, Henry (fl. 1839-40). London maker at 2 Charlotte Strret, Fitzroy Square. (Harding/PIANO, 418) Oakes,Joseph (fl. 1835—36). Piano maker, who worked for Henry Pilcher in Newark, NJ, in 1835-36. (Kaufman/MUS,30)
OBENDRAUF, Joseph Valentin (fl. c.1837). Viennese maker. Obendrauf patented a piano with narrower keys than normal, designed for children’s use.
S
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Sachmeister. See Sakmeister, Charles S. Sachs (Sax), Conrad (fl. c.1820-21). Piano maker in Vienna. (Ottner/Wien, 125) Sachsossky. Maker in Kassel. (Dolge/Pianos) Saether, R. E. (fl. 1844-1880s). Maker of upright pianos at Mø llergt. 15 in Christiania (Oslo), Norway. He might be the partner Saether in the firm Srether & Koch, listed in the Norwegian Hande!skalendar of 1866— 67 as proprietors of a piano factory in Thv. Meyers gt. in Christiania. Another partnership, that of Srether og Berg, were connected to the firm of the Brndrene (Brothers) Hals.
V
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Van Baun, Peter (fl. c.1850). One of the ‘small makers’ who were active in New York. (Spillane/HIST, 197) Van De Kerckhove (fl. c.1855-58). Van de Kerck-hove is mentioned in Michel as a maker of uprights and perhaps other types of pianos in Paris.
W
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Waarum, C. F. (fl. 1830s; d 1839). Piano maker in Christiania (Oslo). Waarum was a builder of square pianos. (Kjellsberg/PIANO, 85) The first two pianos listed below have been redated from Clinkscale/Makers i. Date: c.1830 Present Owners: Norway/Oslo: Norsk Folkemuseum, no. 116 References: Clinkscale/Makers I. 307, No. 1 Ep 3878 Date: C.1830 Present Owners: Norway/Trondheim: Ringve Museum, No. Rmt 650 References: Clinkscale/ Makers I.
Z
Authors: Clinkscale Martha Novak , Watson John R 
Published: November 2023

Abstract
Case: Mahogany veneer; open music desk; three octagonal legs carved at top and bottom into acanthus leaves, casters; wrest plank and hitch-pin plate-painted white; four bars; capo tasto bar Inscription: A. Zakrzewski I w Warszawie (brass nameplate); also No 20 (pencilled under music desk) STRINGS: Straight; single-, dOuble-, Triple-Strung; Bass Strings Overspun Action: Viennese Pedals: 2 Att. To Lyre: Una Corda, Damper Present Owners: Poland/Mielec: Private Collection Former Owners: Poland/Mielec: 1974 Purchase By Present Owner References: Vogel (1989) Ep 4133 DATE: 1845 Style: Grand Compass: 6% oct.
Italy And Hanover, 1706-10
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel’s time in Italy during 1706-10 saw the forging of his mature musical style, redressing the imbalance between the learned and lyrical aspects that Mattheson had noted in the early Hamburg years. He must have travelled to Italy in 1706 and left in 1710, but the precise dates of neither his arrival nor his departure are known.
The Music of the ‘Academy’ Years
Authors: Burrows Donald 
Published: November 2023

Abstract
The period 1720-33 saw 18 new operas from Handel, plus one act of Muzio Scevola and two substantial fragments. For a rounded view of Handel’s creative achievement in the opera house there is also a case for taking the pasticcios into account, but even without them (and discounting other movements that were composed for the operas but never performed) there exists more than 55 hours of music.
The Oratorio Composer I: Dublin And London, 1741-5
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel says he will do nothing next Winter, but I hope I shall perswade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject. The Subject is Messiah.
The Oratorio Composer II: Towards Victory, 1745-9
Authors: Burrows Donald 
Published: November 2023

Abstract
June 1745 found Handel on one of his few documented British excursions away from London. He went first to Exton in Rutland (now in Leicestershire), to the home of the Earl of Gainsborough. There he supplied a short cantata-epilogue for a family performance of a version of Milton’s Comus (There in blissful shades HWV44), though, as the earl’s brother James Noel explained in a subsequent letter, at first the family were hesitant about broaching the matter, since Handel was at Exton as a guest: As Handel came to this place for Quiet and Retirement we were very loath to lay any task of Composition upon him.
The Final Decade II: A Career Completed
Authors: Burrows Donald 
Published: November 2023

Abstract
Handel had managed, with difficulty, to complete ]ephtha and to run his usual oratorio season during Lent 1752. Presumably his increasing disability had been apparent at the performances, and on 17 August 1752 it was announced to the world in a London newspaper: The same newspaper reported, early in November, that Handel had received an operation from William Bromfield, the Princess of Wales’s surgeon, and that there were some hopes for the recovery of his sight.
Performance as Discourse
Authors: Bazzana Kevin 
Published: November 2023

Abstract
There Is The Question of whether a performer should play a creative role, but there is also the question of why. To what end does the creative performer impose himself on the work--or, perhaps more accurately, put himself in the work? Is it only for the sake of random play that the performer should demand some of the composer’s creative authority? I do not mean to underestimate the importance of sheer play in Gould’s work (more on that later), but I believe that for him a performance usually served some higher purpose. In many of his performances, he seems not only to realize or interpret the work, but to discourse about it.
Gould and the Piano
Authors: Bazzana Kevin 
Published: November 2023

Abstract
Glenn Gould Was a pianist. This is, of course, ludicrously to state the obvious, yet it is worth emphasizing the point, for there have been persistent efforts, especially since his death, to exaggerate his achievements in other realms, sometimes at the expense of his piano playing. (It is certainly telling, given the age and size of the posthumous literature, that I am writing the first monograph in English on Gould as a performer.) Gould himself must accept some of the blame: he was always dismissing his instrument of choice as a mere workhorse, denigrating its idiomatic resources, ignoring large parts of its repertoire.
Dynamics
Authors: Bazzana Kevin 
Published: November 2023

Abstract
Gould’S Control Of dynamics was no less extraordinary than his control of rhyrhm; indeed, the two generally operated in tandem. Listen to his piano recording of Wagner’s Siegfried Idyll· on the immediate level the dynamic level rises and falls as the mood of the music demands, yet on the largest level one hears him realizing the whole work-all twenty-four minutes’ worth-as a single, great dynamic hairpin that reaches a climax in bars 295-307, the passage in which the trumpet makes its only appearance in the original; in the final pages, from that climax to the end, his control over the gradual slackening of tempo and reduction in dynamic level must count as one of his most astonishing (if least showy) pianistic feats.
Recording Technology
Authors: Bazzana Kevin 
Published: November 2023

Abstract
The Subject Of Gould’s relationship to recording technology is a large and complex one, and has been discussed at length by Gould himself and others.1 Among classical performers, he was widely known by the 1960s as the greatest proponent of the electronic media--of studio recording, radio and television broadcasting, and film. He was, in Denis Dutton’s words, ‘the closest thing we have to a philosopher of music recording’.2 He was also a leading opponent of live performance, and of the music most appropriate to the concert hall. He felt that concert performance should no longer be the standard of musical behaviour in the late twentieth century.
Lutos ł awskf s Studies in Twelve-Tone Rows
Authors: Homma Martina 
Published: November 2023

Abstract
This title may seem curious to all those familiar with the composer’s statements and interviews. ‘Lutosławski and twelve-tone rows’? Is it not true that the com poser constantly denied any connection with dodecaphony? ‘No, I do not see any relationships to dodecaphony. But if they should exist, they are secondary and superficial
The Stylistic Traits of Lutos ławski’s Works for Solo Instrument and Piano
Authors: Paja-Stach Jadwiga 
Published: November 2023

Abstract
Lutos ławski’s artistic thinking always contained a substantial element of classicism. He valued highly such qualities in a musical work as a clear formal plan, well-proportioned design, logic in the musical process, and balance of expressive devices. Yet although he placed a greater emphasis on classical values, he did not hesitate to apply modern methods in his compositional technique. Thus, the classical aspect of his music does not merely rely on the presence of traits stemming from the classical tradition (this issue would also be worthy of consideration), but is founded above all on the excellent structure of his works, which results from his creative discipline and deliberate adherence to the rules of form.
The War Years (1939-45)
Authors: Mccabe John 
Published: November 2023

Abstract
SIX months after the first performance of the Symphonic Studies in Warsaw, Hitler invaded Poland and the consequence was the outbreak of the Second World War. For a composer who had just achieved his first international successes and was recognized as a major talent, it was as disruptive a blow to Rawsthorne’s career as the First World War had been to Elgar’s. Elgar had been particularly successful in Germany (not surprisingly, in view of the technical basis of his style), and the onset of the First World War suddenly deprived his career of its international context and pushed him back into the more insular world of English musical life. Something similar happened to Raws thorns.
Personal Statements (1963-6)
Authors: Mccabe John 
Published: November 2023

Abstract
RAWSTHORNE’s critical reputation was perhaps never higher than at this time. He had accomplished a substantial broadening of his musical language, had renewed himself so that new works usually accomplished their aims with freshness of purpose and inspiration, and had made what in hindsight seems an inevitable and logical accommodation with serial technique, in a quite unselfconscious fashion.
A Companion to Mozart’s Piano Concertos
Authors: Hutchings Arthur 
Published: November 2023

Abstract
This classic study of Mozart’s piano concertos is, in the words of Alfred Einstein, ‘full of penetrating remarks not ony about the piano concerto but about Mozart’s art in general’. It is here reissued with a new introduction by noted Mozart scholar Cliff Eisen, who, as well as drawing the reader’s attention to the virtues of the volume, also examines at the developments in Mozart scholarship since the volume’s original publication.
The Mozartian Conception
Authors: Hutchings Arthur 
Published: November 2023

Abstract
In 1903 Tovey wrote his monograph The Classical Concerto,’ and showed what the word ‘concerto’ meant to those who first dignified it. Had either theorists or performers mended their ways, there would be no need to write an essay which adds nothing to Tovey’s; but since untruth is repeated in text-books, and people applaud the artistic untruth of vulgarity, it is still a duty to spell out Tovey slowly. They are neither bad text-books nor bad performers who travesty Mozart’s conception of concerto; they have not recognized the generating principles of the most complex instrumental form yet known in western music.
Concerto In E Flat, K. 482
Authors: Hutchings Arthur 
Published: November 2023

Abstract
The fact that there is no concerto between March and December 1785 shows that K. 467 and K. 482 were written for two winter seasons, public concerts being few in the summer months when ‘the quality’ withdrew to the country. After the 1784-5 concert season, Mozart devoted himself to more intimate works than concertos. The six quartets needed completion ; by August they were dedicated and sent off to Haydn. Work then began upon Figaro.
Conclusion. Mozart And Modern Performance Performance: Orchestral And Solo
Authors: Hutchings Arthur 
Published: November 2023

Abstract
Perfunctory and over-delicate performances of Mozart are growing rarer, though this age has introduced distortions of its own; sometimes a piece loses entity in its general movement while each section, each phrase, is well preened and pinned; sometimes exaggeration takes an opposite course, and the taut, lithe exquisiteness of Mozart’s phrases becomes lost in a tempestuous tribute to his poetry. Archaism and ‘historical’ preciosity produce rival falsehoods to Schumann izing or Bcethovenizing.
Introduction
Authors: Schiller David M 
Published: November 2023

Abstract
The title of this book contains not one, but two, oxymorons. The contradiction between ‘Jewish’ and ‘music’ was Richard Wagner’s anti-Semitic invention; the contradiction between ‘assimilating’ and ‘Jewish’, already present in Judaism itself, was reaffirmed in the Zionist response to European anti-Semitism. Ernest Bloch (1880-1959), Arnold Schoenberg (1874-1951), and Leonard Bernstein (1918-90) did not resolve these contradictions, but in their creative responses to the paradox of assimilating Jewish music, they redefined them. In Bloch’s Sacred Service (1933), Schoenberg’s A Survivor from Warsaw (1947), and Bernstein’s third symphony, Kaddish (1963), assimilating Jewish music becomes audible.