bluuebunny/crossref_metadata_2025_split huggingface dataset:
Official appointment—first productions—conflicts with Leoncavallo (September 1897–February 1898)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
WITHOUT waiting for his appointment as director to be officially confirmed, Mahler began a thorough revision of several of the productions in the Opera’s repertoire. The first he chose was Lortzing’s Zar und Zimmermann, of which he was p1J-rticularly fond and which had not been performed at the Hofoper for almost ten years. It opened to a full house on 11 September and was a great success. The applause was exceptionally warm, and the press enthusiastic. Heuberger praised the purity and quality of the orchestral sound1 and the improved role of the chorus, which displayed a liveliness and participation in the action never before achieved. What impressed him above all was the way the various elements in the performance had been welded into a unified whole. ‘We were expecting a carpenter (Zimmermann) and a czar (Zar) arrived,’ he concluded. The Neues Wiener Tagblatt congratulated Mahler both for selecting an unjustly neglected opera and for doing so much to make it a success. It described as exemplary the discreet handling of the accompaniments, and praised Mahler’s ‘incomparable artistry as a miniaturist, a fine engraver’. This was particularly noticeable in the ensembles, ‘which are among the best passages in Lortzing’s score’.2
First Philharmonic Concerts—first battles at the Opera—the Ring and Der Freischutz (March–December 1898)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
LATE in 1897, as we have seen, Guido Adler obtained a grant from the Gesellschaft zur Förderung deutscher Wissenschaft, Kunst, und Literatur in Bohmen (Society for the Encouragement of German Science, Art, and Literature in Bohemia) for the publication of Mahler’s symphonies. In applying for it he submitted an official report to the Society, and also a detailed account (Referat) of Mahler’s life and career, with special reference to performances and publications of his works.1 ‘I personally value him greatly—as a good friend and as an artist. He always keeps the artistic ideal in view,’ Adler added as a postscript: ‘Mahler and Strauss are in the first rank and also, to speak frankly, in the vanguard of the most modern movement in music.’ Adler analysed the Symphonies and their general structure enthusiastically, wisely making a few reservations about the ‘unerhörten Kakophonien’ (preposterous cacophonies) of the third movement of the Third Symphony,2 where, he admitted, Mahler ‘frequently transgresses the conventional limits assigned to pure beauty in our time’. He went on to ask whether posterity might not judge otherwise.3
Premiére of Das klagende Lied—illness and operation—resignation from the Philharmonic—the Fifth Symphony and the Rückert-Lieder (January–August 1901)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
DURING the Christmas holidays, Mahler worked two hours every morning and evening to revise the score of the Fourth Symphony, which Doblinger planned to publish, together with ‘Revelge’, before the première in Munich in November.
Correspondence with Strauss—arrival of Bruno Walter—Die lustigen Weiber von Windsor and Les Contes d’Hoffmann—première of the Fourth Symphony (September–December 1901)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
SINCE the performance of the First Symphony at the Weimar Festival in 1894,1 Mahler had been in touch with Strauss mostly by mail. Meanwhile, the young lion of German music had risen to the height of fame. This was the time of his last great symphonic poems, Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898), which had caused a furore at each new hearing and had confirmed Strauss as head of the neudeutsch school and the greatest German composer since Wagner.
Triumph in Basel—contract with Peters—the Sixth Symphony completed—first trip to Holland (April–December 1903)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
ALETTER Mahler wrote to the impresario Norbert Salter early in 1903 shows how much Mahler’s Krefeld triumph had transformed his career as composer-conductor. He declared himself ready to conduct anywhere so long as one of his own works was included in the programme: his fee would be 1,000 marks in Germany, and 1,000 florins (2,000 kronen) elsewhere.1 Instead of having to solicit engagements, he now considered himself able to set his own terms. He would in any case have to be very selective in his acceptance of offers because of the onerous nature of his post, which compelled him to restrict his absences to a minimum.
Interaction of Ritual and Music with Art, Architecture, and Politics
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
The Divine Ritual at Saint-Denis was performed in a church that had enviably close ties with the Crown, a sumptuously decorated building which was reconstructed no fewer than three times. This unique setting cannot be overlooked in the study of the liturgy of Saint-Denis, for it deeply affected the ceremony of the monastery.
Liturgical Sources of Questionable Attribution
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
From the first years of modern manuscript research, scholars have from time to time ascribed sources to Saint-Denis, only to have their views later called into question. Both the political importance of the abbey and the approximate periods of flowering of the scriptorium were recognized early on, and these prompted numerous attributions. More recent refinements in Sandionysian scholarship have brought about some adjustments in our thinking about these liturgical codices. The manuscripts that were actually used in the daily celebration of the Divine Office in the abbey can now be identified with greater precision.
Richard Wagner
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner’s aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while his links with the great figures and forms of world theatre – Shakespeare, the commedia dell’arte, the popular theatre, and the puppet theatre – are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner’s Diaries, and throws unexpected sidelights on Wagner’s relationship with Nietzsche, in particular his important contribution to Nietzsche’s The Birth of Tragedy. Central to the present study are Wagner’s music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts (including the problem of anti-Semitism). First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas.
The Fascination of Punch and Judy: Wagner and the Popular Theatre
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
One of Wagner’s chief aesthetic dogmas was that every major type of theatre developed out of the Volksgeist or popular spirit. For him, the prototypical stage was a platform or structure erected in the midst of the Volk and surrounded by spectators on at least three sides. Readers familiar with the Bayreuth Festspielhaus, with its strict separation of stage and auditorium, will regard such a claim as far-fetched, if not downright perverse. In fact, there are as many passages in Wagner’s writings to refute this claim as there are to support it. It cannot be denied that his thinking was made up of two fundamental, and incompatible, views of the theatre, which were, however, to influence one another.
In Search of a Lost Style: Wagner’s Ideal of ‘Classical Form’
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
In his open letter to Nietzsche of 12 June 1872 (a letter prompted by Ulrich von Wilamowitz-Moellendorffs critique of Nietzsche’s Die Geburt der Tragödie) Wagner voices his enthusiasm for ‘classical antiquity’, dating his interest in the language, mythology, poetry, and history of ancient Greece from his childhood years. Although he had been denied a thorough philological training, he had, he goes on, gradually distilled ‘an ideal perception of art’ (ix. 296) from his study of antiquity—by which he invariably meant Greek antiquity. (In general he held a low opinion of Roman antiquity, which he was even led, on occasion, to dismiss altogether.) In Mein Leben he traces in detail the Greek influences on his view of the world and on his aesthetic thinking, and it is significant that, as with Hölderlin, whose Hyperion he naturally held in low esteem (CT, 24 December 1873 and passim), these influences were mixed with contemporary impressions gained during childhood, notably his enthusiasm for the Greek War of lndependence.
The Birth of Opera from ‘Absolute Melody’: The Origins of Wagnerian Music Theatre
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s most detailed critique of traditional music theatre comes in the first part of his chief theoretical work, Opera and Drama, and is entitled ‘Opera and the Essence of Music’. The titles of the other two parts (‘Spoken Theatre and the Essence of Dramatic Poetry’ and ‘Poetry and Music in the Drama of the Future’) make it clear that the train of thought in Opera and Drama follows the popular dialectical model of thesis, antithesis, and synthesis: opera and spoken drama are to be ‘superseded’ by the ‘drama’ which alone deserves that name.
‘Absolute Music’ as a Covert or Overt Ideal: Nietzsche, Hanslick, and the Aesthetic Outlook of the Later Wagner
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
The idea of ‘absolute music’ is older than the term. As Carl Dahlhaus has convincingly shown,1 its natural home is the Romantic aesthetic of music. The term itself is not found, of course, until around the middle of the nineteenth century, when it appears to have been introduced by Wagner. It was then taken up by his antagonist Eduard Hanslick, who turned it into the corner-stone of his own aesthetic theory, speaking of ‘pure, absolute music’,2 and subjecting the adjective ‘absolute’ (which for Wagner had had exclusively negative associations) to a radical revaluation. (We also see here the distance Wagner himself had travelled between his early Paris essays, influenced as they were by Tieck, Wackenroder, and, above all, by E. T. A. Hoffmann, and the reform essays of around 1850.)
The ‘Redemption’ of the Romance in the Musical Drama
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
The history of opera makes us aware of ‘the inability of music itself to become genuine drama, in other words, to allow genuine drama (i.e., drama that is not merely tailored to meet the requirements of the music) to be assimilated into it, whereas it is the music which ought reasonably to merge with this genuine drama’ (iii. 263). Here, in a nutshell, is the quintessential idea behind the first part of Opera and Drama. In Wagner’s view, the predominance of ‘absolute music’ has led to a fragmentation of the dramatic form of opera, the unity of which had been demanded by the poetics of the spoken theatre ever since the time of Aristotle. But the absolute musician who ostensibly sets the tone in opera ‘has never for a moment striven to impose a unified form upon the art-work as a whole: each individual vocal number was a self-contained and self-sufficient form, similar to the remaining pieces in the opera in terms of its superficial structure but certainly not connected with them through any formally determinative content. Thus, disconnectedness became very much a characteristic feature of operatic music’ (iv. 201).
A Brazilian In Paris: The Synthesis (1923-1929)
Authors: Wright Simon 
Published: November 2023

Abstract
Villa-Lobos’s Nonet is one of the most extraordinary pieces of chamber music ever written. Its scoring, founded on ideas from the Sexteto mistico and the Quarteto simb6lico, pushes the definition of ‘chamber’ to absurd limits: flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large percussion section using 18 instruments and requiring at least two players, and a mixed chorus dividing into, at most, 12 parts. All the disparate strands which lay together in the Canfiies tipicas were, in the Nonet, at last reconciled.
Post-Pentecost Alleluias in Medieval British Liturgies
Authors: Hiley David 
Published: November 2023

Abstract
It may well have been Walter Howard Frere who first pointed out how useful post-Pentecost alleluias were in determining the derivation of a missal or gradual. At least, I am aware of no earlier reference. In the introduction to Graduate Sarisburiense he wrote: ‘ a synoptic table of Alleluias is by far the best test by which to discriminate between varying uses ’.Frere himself never followed through this recommendation with any systematic published survey of alleluia series. Nor did his colleague John Wickham Legg in the extensive commentary for his edition of the ‘Lytlington Missal ’ of Westminster Abbey. In fact, the alleluia series of that manuscript is one of the most important clues as to its derivation, since it is a highly characteristic one used at F é camp, Jumi è ges, Saint-Evroult, and Mont-Saint-Michel. Since then the existence of the method has become widely known.
New Tendencies In Orchestral Music: 1830–1850
Authors: Abraham Gerald 
Published: November 2023

Abstract
THE composers of the 1830s inherited a magnificent instrument from Beethoven and Weber: the Classical orchestra brought to its highest development in the hands of the former and already subtilized, its colour effects extended, its sensuous gloss heightened, by the latter. One cannot add Schubert’s name to these two, for his scores were practically unknown in the 1830s, but we should certainly add the names of several other opera composers, such as Spontini, with his muted woodwind-their bells in leather bags1-in Fernand Cortez (1809), his divided strings, some with mutes, some without, in Olimpie (1819), and the rest of his colour devices. The fertilization of instrumental music by expressive and descriptive resources first employed in dramatic music, though a fairly constant process, was never more noticeable than during the second quarter of the nineteenth century. Opera even supplied Romantic orchestral music with what is perhaps its most characteristic form: the independent descriptive overture. For once, history literally repeated itself.
Romantic Piano Music: 1830–1850
Authors: Kahl Willi 
Published: November 2023

Abstract
WHEN in February 1837 Ignaz Moscheles gave three piano recitals in London, his programmes included not only recent piano music but works by Domenico Scarlatti and his contemporaries, which he performed on a 1771 harpsichord from the Schudi workshops placed at his disposal especially for these concerts by the firm of Broadwood. This was probably the first time in the nineteenth century that the harpsichord was introduced into the concert hall in the role of ‘historical’ instrument. In the course of the preceding decades the Hammerflugel had undergone structural improvements which naturally influenced performing technique and composition. One of these was the repetition mechanism invented by Sebastien Erard and patented in London in 1808, followed in 1821 by his double escapement which permitted the same note to be struck several times in rapid succession. A most important step towards strengthening the structure of the Hammer.fiugel, and one which opened up many new possibilities in the field of dynamics, was the introduction, from America where it was patented in 1825, of the iron frame cast in a single piece which gradually superseded the older wooden frame, and the overstringing of the bass strings. Of far-reaching effect on the styles of piano music in these decades were the opposing influences on the one hand of the so-called Viennese school and on the other of English technical progress which played an increasingly incisive role in piano manufacture after 1800.
Major Instrumental Forms: 1850–1890
Authors: Pascall Robert 
Published: November 2023

Abstract
BEETHOVEN continued to dominate musical creativity for many years after his death-in choice of genres and instrumental forms, in the preservation of stylistic essentials based on thematic drama in a tonal context, and in increased emphasis on originality and significance (rather than technique and entertainment). Wagner, in one of the greatest public tributes by any composer to another, wrote in 1870 that Beethoven had lifted music ‘far above the aesthetically beautiful into the sphere of the totally sublime’ by the emancipation of melody ‘from the influence of fashion and changing taste’ and its elevation into an ‘eternally valid type for all humanity’.
Byzantine Chant
Authors: Velimirovic Milos 
Published: November 2023

Abstract
The term ‘Byzantine chant’ is applied to the monophonic settings of melodies, vocally performed, in use in the Greek Orthodox Church in the Middle Ages, contemporary with the Eastern Roman Empire, better known as the Byzantine Empire. As with all other musical traditions of the Eastern Mediterranean, the earliest stages of the melodies and their evolution are unknown; all assumptions are made on the basis of later practice, with inferences of logical development of the liturgical as well as complementary musical actions.
Chants of the Roman Office
Authors: Crocker Richard 
Published: November 2023

Abstract
Chant for the Roman Office consists mostly of antiphons and responsories, in roughly equal proportions. Of these two types, antiphons are the simpler in musical structure, and can well be considered first; they are not, however, necessarily older than responsories. Around the middle of the ninth century, close to the time of the archetype, Gregorian antiphons seem to number around 1,600. It has yet to be determined how many of these came from Rome, and how many are due to Frankish cantors, either as new melodies or as adaptations of Roman ones-or of pre-Carolingian Gallican melodies.
Medieval Song
Authors: Stevens John 
Published: November 2023

Abstract
Medieval monophony sprang from abundant creative inspiration and took on a great variety of forms, techniques, and styles. Many of these have been described in the chapters on Roman, non-Roman, and medieval chant, associated more or less closely with the liturgy of Mass and Divine Office. Many more, those of secular song in particular, remain to be described here. But the distinction between ‘liturgical’ and ‘non-liturgical’ (a modern rather than a medieval distinction) cannot be made hard and fast; the inclusion or exclusion of repertories or single items in those chapters was to some extent arbitrary. The present chapter will gather in some of the materials not covered earlier because-for one reason or another-they were not sufficiently connected to Mass or Office.
Early Polyphony
Authors: Fuller Sarah 
Published: November 2023

Abstract
The first epoch of Western polyphony may be said to end with the emergence of a distinctive, highly artificial, and influential polyphonic style in the environs of Paris toward the end of the twelfth century. Its inception is less easily fixed in time, for the earliest texts to speak directly and unambiguously of singing in two or more parts treat such singing as familiar practice, while venturing no comment as to its antiquity or origins. These texts stem from approximately the last half of the ninth century-even their dating lacks precision-and establish the recognition of polyphony as a discrete phenomenon during the 800s at the latest.
Polyphony at Notre Dame of Paris
Authors: Knapp Janet 
Published: November 2023

Abstract
The first book of the Policraticus by John of Salisbury is devoted to a discussion of courtly frivolities, which include, among others, gaming, music, miming, and magic. There is no intent to slander music by placing it in this company, we are told. It is, after all, a liberal art; its use in the divine service is sanctioned by the Scriptures and by the Church Fathers; and it is shown by Plato, the prince of all philosophers, to be governed by the very ratios which govern the harmony of the soul. But music has been corrupted:
Townscape–Soundscape
Authors: Strohm Reinhard 
Published: November 2023

Abstract
LATE medieval Bruges is known to us through the stillness of pictures. Motion and sound are contained in them, but in a frozen form: reduced to an infinitely small fraction of time. Given time, the pictures would start to move, and the music would be heard.
In the Ghent panels by Hubert and Jan van Eyck, an angel is seen playing the organ: she is about to press the keys F, c and a.— The time lapse between her action and the perception of the chord is extended to eternity. Next to the organ-player another angel, holding a harp, counts the time with her fingers on the shoulder of the partner in front of her, who holds a viol and is ready to play, but is resting. In the opposite wing of the picture, eight angels are singing mensural polyphony. Musical measure determines the precise moment in time in which the whole picture is set.
The Piano Trio
Authors: Smallan Basil 
Published: November 2023

Abstract
Over the centuries of its history the Piano Trio has gained a repertoire of exceptional size and richness, one which includes some of the greatest and most widely admired of all chamber works. This book, the first to be devoted solely to a study of the genre, reviews the development of the trio in different countries, against the background of general musical history, showing how it has reflected changes in style and technique from Mozart and Haydn in the late eighteenth century to the avant-garde composers of the present day. The author's survey focuses on the principal works in the trio repertoire, and his clear analytical descriptions are illustrated by a number of musical examples. In parallel with this he gives particular consideration to the problems involved in scoring for the ensemble, and to the way in which the participating instruments were gradually developed in range and power from the earliest times of the genre.
1873–1874
Authors: Bordman Gerald 
Published: November 2023

Abstract
If the new season offered playgoers a few exceptionally exciting evenings, it brought with it far more disappointments. Only the most incorrigible Pangloss would have given the theatrical year a good rating. Most commentators pegged it as somewhere between drab and disastrous. Acceptable new plays seemed especially scarce, so once again revivals proliferated. This in itself would not have bothered playgoers, who welcomed fresh writing but who also embraced, far more than later audiences ever would, a repetitive repertory of old pieces. Yet all too many of these resurrections during the season seemed jerry-built or dispirited. One unhappy observer, Henry Dickinson Stone, called special attention to the proliferation of musicals featuring the buxom beauties of the time in revealing costumes when he lamented in his curious 1873 Theatrical Reminiscences, “There appears in these latter days so much of the il-leg-itimate drama, so much of the flashy, trashy, sensational afloat and tolerated, that the true, solid, intellectual old tragedies, comedies and sterling melodramas are wholly ignored, and made to ‘take a back seat.’ “ Such qualitative letdowns led to increasing turnovers, pushing up slightly the number of productions. But another, external matter exacerbated the situation.