bluuebunny/crossref_metadata_2025_split huggingface dataset:
Francesco Genminiani (1687–1762)
Authors: Careri Enrico 
Published: November 2023

Abstract
ALTHOUGH Francesco Geminiani is a relatively well-known composer whose name is frequently cited in studies of baroque music, his biography and works have been relatively little researched. His music was often analysed without due reference to the biographical and historical background, and his multifarious activities as violinist, composer, theorist, and small-scale entrepreneur were never considered in their full interrelationship. The present study represents a first attempt at providing a comprehensive account of a composer who in the first half of the eighteenth century dominated the English musical scene alongside Handel. The first volume traces Geminiani's life and career from his birth in Lucca in December 1687 to his activities in three centres: London, Paris, and Dublin. After analysing the critical reception to Geminiani, both contemporary and modern, Dr Careri examines his compositions by genre, illustrating his remarks with some 39 music examples, some presented in facsimile. The second volume is a complete thematic catalogue with music incipits, containing details of primary sources, reworkings and transcriptions, and modern editions.
Lucca, Rome, Naples 1687–1714
Authors: Careri Enrico 
Published: November 2023

Abstract
THE few known facts about the life of Francesco Geminiani are generally taken from the writings of Hawkins and Burney, which, although they hold a particular interest as sources since both historians knew the composer personally, do not always prove reliable. The sole attempt in modem times to shed further light on Geminiani’s biography was made by Adolfo Betti in 1934. However, Betti’s researches were limited to the archives of Lucca, the composer’s native city, and resulted in little more than the discovery, important though that was, of Geminiani’s date of baptism. It seems that after Betti no researcher felt the urge to take the investigation further, perhaps because of the objective difficulty in keeping track of Geminiani’s movements between London, Paris, and Dublin, the three cities where he spent most of his life. The lack of any established tradition of Geminiani studies (despite the fact that this composer was considered by many of his contemporaries the equal of Handel and Corelli) weighs heavily on the present state of research and accounts for the persistence, even after the present investigations, of many lacunae in his biography.
The First London Period 1714–1732
Authors: Careri Enrico 
Published: November 2023

Abstract
‘THE year 1714 [Burney recounts] was rendered an important period to the progress of the violin in this country, by the arrival of Geminiani and Veracini; as the abilities of these masters confirmed the sovereignty of that instrument over all others, in our theatres and concerts.’ According to Hawkins, Geminiani came to London in the company of another Lucchese musician, Francesco Barsanti (1690–1772), who was also to spend most of his remaining life in Britain. The choice of England was particularly happy: even allowing that Italian music as a whole was well known and appreciated throughout Europe, in England there was a particularly vigorous and enthusiastic cultivation of the music of Arcangelo Corelli, which conferred a great advantage on any violinist who could claim to belong to his school.3 But England offered other advantages besides. First, violin technique was much less well developed than in Italy, so that it was all the. easier for a pupil of Corelli to make a name as a virtuoso.
Handel and his Singers
Authors: Larue C Steven 
Published: November 2023

Abstract
From the early 18th century until the present day, opera seria as practised by Handel and his contemporaries has been the subject of satire and even derision for its dramatic artifice and virtuosic vocal displays. Close examination of Handel’s autograph manuscripts, the librettos upon which they were based, and other contemporary documents reveal the extent to which Handel was influenced by his singers and their abilities in creating his commercially successful and dramatically effective operas. Drawing on ideas and evidence from these sources, this study demonstrates the fact that Handel’s singers were the single most important influence in his opera composition during his tenure as composer and music director of the Royal Academy of Music from 1719–28.
A General Description of the Sources
Authors: Larue C Steven 
Published: November 2023

Abstract
The primary Handel sources required for this study have been broken down into three main categories: (1) the composer’s autograph manuscripts, which include complete works, fragments, and sketches; (2) manuscript copies, which include conducting scores and other eighteenth century copies; (3) printed sources, which include the printed librettos that served as models for Handel’s opera librettos, the printed librettos sold at the first performances of Handel’s operas, and the first editions of Handel’s published scores.
Francesco Borosini and the Two First Versions of Tamerlano (1724)
Authors: Larue C Steven 
Published: November 2023

Abstract
Perhaps no opera in Handel’s œuvre demonstrates the influence of the cast on the composer’s creative process more clearly than Tamerlano; due to the unique circumstances surrounding the creation of the work, many features of Handel’s opera composition can be traced in his autograph manuscript of the score and its related documents. Of particular interest, however, is the extent to which the autograph illustrates Handel’s musico dramatic thinking in relation to the singers and sources made available to him, and the role of each in his creative process.
A
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
ADLAM, John. London maker at 40 King Street, Soho, in 1793. (Harding/PIANO, 385)
ADRIEN, André (b Brussels, 21 Dec. 1783-d Brussels, 19 Apr. 1824). Maker of pianos in Brus sels. Born in Brussels, Adrien may have served an apprenticeship in Germany. He began to build pianos in 1816 and established his own Brussels shop in 1821. (Raspe/AD, 19)
E
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
E., S., initials of Sebastien Erard. Used as a signature on certain of his pianos.
EBERHARD, Philippe (fl. 1785-99). Maker of pianos and probably harpsichords in Paris. His address from 1785 to 1790 was 3 rue des Deux Portes-Saint-Sauveur; in 1799 he was at 321 rue du Jour. (Place/PARIS, 181)
Apostolic Successions
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
Edward now had a national reputation. Each success raised higher the standard by which any new work would be judged. Yet the Symphony remained nebulous, while all his big works developed out of programmes and stories and incidents. At the age of 44, with half of creative life behind him and the world knocking at his door, achievement still depended on finding some outside impulse to give large form to his music.
Death on the Hills
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
In the decade since the beginning of the new century, success itself had seemed to divide Edward from his self-doubt. Now the lack of response at the Second Symphony premiere raised all his old insecurity in an instant. And side by side with personal fear there began to grow a new fear of the future: that he and his music would find less and less understanding in the evolving world.
Veni, Vidi, Vici(1889-1893)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
Albeniz appeared in a concert on 7 March 1889 at the Teatro de la Comedia in Madrid with the orchestra of the Sociedad de Conciertos conducted by Tomas Breton. The programme included his Suite caracteristica for orchestra, made up of arrangements of three piano works: the Scherzo from his Sonata No. 1, ‘En la Alhambra’ (‘inspired by Arab legends’), and ‘Rapsodia cubana’ (‘an exact transcription of the rhythm and melodic design of Cuban songs’).1 Albeniz also performed his Piano Concerto No. 1, or Concierto fantastico. Despite its title, the work is conservative and straight forward in nature. The lengthy Allegro first movement is in sonata form with a principal theme in A minor and a secondary theme in E major. Much of the melodic inspiration, in addition to the tonality, seems indebted to Schu mann. The second movement supposedly expresses ‘the vagueness of a dream’ (‘la vaguedad de un ensueiio’), and it is probably this ‘fantasy‘ element that inspired the concerto’s title. It is divided into two sections: the Andante‘s principal theme is clearly derived from the opening theme of the Allegro, while the second section, marked ‘presto’, is a scherzo in the style of Mendelssohn. The final movement, Allegro, is dominated by the piano and is once again based on themes related to those of the first move ment. Albeniz‘s Escenas sinfonicas catalanas (‘Symphonic Catalan scenes’) also appeared on the programme. This work depicts a country fiesta in the mountains of Catalonia and consists of four sections. The first is in sonata form and includes a third theme of a popular character that recurs as a leitmotif in the third and fourth sections of the work. The ‘Idilio’ (‘Idyll’) paints a picture of two lovers. The ‘Serenata‘ features a quartet of strings with violin solo. The final movement presents two separate themes of a popular character, and the work concludes with reminiscences of the leitmotif and the
A Man of Some Importance(1896-1897)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
Juan Valera Y Alcala Galiano (1824-1905) was one of the best writers Spain produced in the nineteenth century. Born to a prosperous family in Cordoba, he studied Latin, law, and philosophy as a youth and was fluent in several languages. In 1847 he was appointed ambassador to Naples, where in his spare time he studied classical and modern Greek. Later diplomatic assignments took him to Lisbon, Rio de Janeiro, Dresden, Paris, Berlin, St Petersburg, and Washington, DC. Valera was, like Albeniz, a man of cosmo politan tastes and refinement. He was also a member of the liberal faction in Spain, and much of his writing was political in nature. All of this has a direct bearing on his first novel and most famous literary achievement, Pepita Jimenez (published 1874).1
Lamenti recitativi da camera
Authors: Porter William V 
Published: November 2023

Abstract
‘Lascla Teml morire’: ‘Let me die … Tum back, my Theseus … But with gentle breezes, you happily depart while I weep here … Where, where is the faith that you so much promised to me?0 storms, o tempests, o winds, drown him beneath your aves! … Ah, what am I saying? Am I delirious? … It was my distress speaking, and my pain; yes, my tongue did speak, but not my heart … 0 mother, o father, o splendid palaces of the ancient realm … look where pitiless fate has led me! Such is the destiny of one who loves too much and trusts too deeply.’ Thus cries the abandoned Ariadne in the words of Monteverdi’s poet Ottavio Rinuccini, as her distraught mind races across a wide spectrum of conflicting thoughts and emotions-inconsolable despair, piteous calls for Theseus’ return, Theseus’ joy as opposed to her own weeping, recollections of broken promises, angry calls for his destruction, reconsideration as she acknowledges her abiding love for him, calls for the sympathy of her parents, and finally, realization of the consequences of excessive love and trust. Monteverdi produced three settings of Ariadne’s lament in recitative style for accompanied solo voice: first as a climactic scene to his opera Arianna (premiered in 1608; music lost), where the vocal solo is punctuated by choral commentary; then as an independent piece for chamber performance (published in 1623); and finally as a spiritual work with Ariadne’s words reworked and reassigned to the Virgin (published in 1640).
Aspects of Aria
Authors: Sternfeld F W 
Published: November 2023

Abstract
The present discussion expands some passing remarks on ‘aria’ and ‘number’ in my monograph on The Birth of Opera (Oxford: Clarendon Press, 1993), notably in chapters 2, 6, and 7, where various recent interpretations of Monteverdi’s letter to Alessandro Striggio of 9 December 1616 concerning ‘parlar cantando’ are discussed in greater detail. See also Nino Pirrotta and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi, trans. Karen Eales (Cambridge University Press, 1982), ch. 6 (‘Early Opera and Aria’). For a more literary discussion of the principle of repetition from Homer to T. S. Eliot, see my ‘Repetition and Echo in Renaissance Poetry and Music’, in John Carey (ed.), English Renaissance Studies Presented to Dame Helen Gardner (Oxford: Clarendon Press, 1980), 33-43.
‘Aria’ in the Madrigals of Giovanni Rovetta
Authors: Whenham John 
Published: November 2023

Abstract
The concertato madrigals of Giovanni Rovetta, who was Monteverdi’s assistant at St Mark’s, Venice, from 1627, and his successor there in 1644, have not yet achieved a modem edition; nor have they been studied in the round. Specific aspects have been noted, mainly in theses,1 and Jerome Roche offered some judicious comments on Rovetta as composer in his article in the New Grove Dictionary ef Music and Musicians, including praise of the madrigal ‘A che bramar, a che aventar i dardi’ (1640).
Vivaldi and the Pasticcio: Text and Music in Tamerlano
Authors: Cross Eric 
Published: November 2023

Abstract
In his seminal essay ‘Towards an Understanding of the Opera seria’,1 Reinhard Strohm questions the validity of the concept of the individual ‘work’ when dealing with Italian operatic practice of the early eighteenth century. Instead, he advocates viewing operas of this period as ‘productions’, dominated less by the wishes of the composer than by the influence of the individual singers employed for that particular season. This undoubtedly reflects the relationship between singers and composers described in many contemporary sources, as well as their status in terms of financial reward.
Birth, Education, and Early Performances, 1775–1797
Authors: Radomski James 
Published: November 2023

Abstract
The operatic world in 1775, the year in which Manuel García was born, was still ruled by the spirit of the Enlightenment with ‘Nature’ and ‘Reason’ seen as the guiding forces in science, art, and literature, as well as in music. Gluck was at his height; his Orphée et Euridice and Iphigenie en Aulide had just premiéred at Paris in 1774. Mozart’s Entfuhrung would come seven years later, and Don Giovanni five years after that. The works of Mozart, revolutionary at the time, would be the inspiration of García’s youth.
Indeed, García was born on the eve of revolution: the American was imminent and the French soon to come. Rousseau’s Contrat social (1762) was coming to fruition. García, with one foot in the eighteenth century and another in the nineteenth century, would see tremendous social change in his lifetime, from which he did not remain aloof. His own profession, officially considered ‘despicable’ in Spain, would not have that stigma removed until revolution had rocked the country (1808), an experiment with democracy had been attempted and failed (1812), and the king, Fernando VII, finally granted the favour of officially declaring the actor’s life to be respectable (1819).
London-Paris-London,1823–1825
Authors: Radomski James 
Published: November 2023

Abstract
In May 1823, García was already in London, where he appeared at the King’s Theatre, under the management of John Ebers, who later published his recollections of the season.
At this period, an engagement was concluded with Signor García, a tenor of great power, taste, and an excellent musician. He had been made known to an English audience in the year 1818, when he had an engagement under Waters’s manage ment, and left behind him an impression which made his return welcome to all who remembered his former visit. His voice was now a little reduced, but not so as to prevent his being a most effective singer.
Returm to Paris, Last Operatic Performances, 1829
Authors: Radomski James 
Published: November 2023

Abstract
Five years had elapsed since García’s departure from Paris, the city to which he had become most attached, the city that gave him his first great success and that launched him on an international career. Paris was, finally, the one city that seemed not only to enjoy, but to respect his art, and it must have been a great relief for García to return there safely. The intervening years had not been easy ones. In spite of triumphs, he had lost a daughter (Maria Malibran had taken off on her own1), a son (Manuel likewise returned to Paris to try a career of his own), and all of his earnings in the attack in Mexico. Furthermore, he was now 54 years old, well past his prime. His voice was no longer what it had been in the glorious years between 1816 and 1824.
Nevertheless, García had not been forgotten and, indeed, his absence allowed his previous performances to enter into the realm of legend which probably would not have occurred if the Parisian public had been witness to the gradual decline of his powers. García’s performances of Don Giovanni and Otello had become the standard. Throughout the years of his absence frequent brief references to his singing were made.
Iphigénie en Aulide (1772–1774)
Authors: Howard Patricia 
Published: November 2023

Abstract
The honour which is due to you, monsieur, on account of your very distinguished abilities, and your reputation for integrity, with which I am familiar, have persuaded me to undertake to write to you to inform you that the celebrated M. Glouch, famous throughout Europe, has composed a French opera which he would like to have performed on the Parisian stage. After having written more than forty Italian operas, which have enjoyed the greatest success in all the theatres where that language is in usage, this great man has become convinced, by a close reading of authors ancient and modern, and by profound reflection on his art, that in their theatrical compositions, the Italians have strayed from the true path, that the French genre is the true genre of music drama, and that if it has not yet been perfected, it is not the acknowledged talents of French musicians which are to blame, but rather the authors of the poems, who, ignorant of the scope of musical style, have in their librettos preferred wit to feeling, gallantry to the passions, and restraint and the refinements of versification to pathos in style and situation.
A Testimonial Year (1781)
Authors: Howard Patricia 
Published: November 2023

Abstract
Your letters, my dear friend, are so delicious and entertaining as to make us forget Linguet and his Annales.2 All those I allow to read them are consumed with the desire to make your acquaintance. You are becoming more famous here through your letters than I with my operas in Paris. Mme Gluck thoroughly enjoys them; she sends you all good wishes, and asks if you can give her any information about a certain Doctor of Medicine from these parts, called Mesmer, whether he is in Paris, and what credit he has gained for his magnetic cures.3
Symphony No. 21 (1764)
Authors: Haimo Ethan 
Published: November 2023

Abstract
Everything—as the saying goes—is relative. If so, then Symphony No. I is a typical work, for many of Haydn’s symphonies from the late 1750s and early 1760s have similar overall plans and similar treatments of the forms of the individual movements. By the same standards, Symphony No. 21 is an extremely unusual symphony. As such, it is a particularly useful subject for analysis, offering us a valuable opportunity to test our understanding of Haydn’s formal procedures against a number of problematic movements.
Symphony No. 81 (–8 November 1784)
Authors: Haimo Ethan 
Published: November 2023

Abstract
In many of Haydn’s later works, significant aspects of the formal organization (both intra movemental and inter movemental) can be traced back to a single event that occurs at the very beginning of the composition. Nowhere is that more easily demonstrable than in Symphony No. 81. Essential features of the structure of all four movements derive from the opening measures of the symphony (see Ex. 7.1).
Symphony No. 96 (1791)
Authors: Haimo Ethan 
Published: November 2023

Abstract
In the course of Haydn’s two trips to England (1791–2 and 1794–5), and in preparation for them, he wrote (among many other works) twelve symphonies. Carefully tailored to appeal to the London audience, Haydn’s last symphonies are, at the same time, among the most profound products of his art, forging an inimitable synthesis between the avowedly popular and the unabashedly recondite.1
GENESIS
Authors: Thomas Adrian 
Published: November 2023

Abstract
G6RECKI’s personal circumstances had changed markedly since 1955, not least after his marriage to Jadwiga Ruranska in Katowice in the summer of 1959. On their honeymoon in July they visited Zakopane for the second time, and on this and subsequent walking holidays they continued to explore the foothill country to the north of the Tatra range-the regions of Podhale, Kotlina Nowotarska, and Goree (Fig. 3). In 1959 they discovered the villages of Witow and Chochotow, where they were to spend many summer months from 1966 until the late 198os.1 Their home in Katowice was now a small flat north of the city centre in a block occupied by a number of musicians, although Gorecki frequently returned to Ryduttowy (and occasionally to a summer-house in Szabelski’s garden) to gain some peace and quiet for composition.
The Quest for Melodic Diversity
Authors: Hurley David Ross 
Published: November 2023

Abstract
In the process of revising his scores Handel faced certain problems time and again. Examining such recurring revisions enables us to identify stylistic issues that regularly concerned the composer. In this chapter I identify two kinds of revisions in Handel’s composing scores that are ultimately interrelated: (r) revisions that curtail excessive thematic repetition; and (2) revisions that manipulate the order of melodic events. Both types of corrections underlie Handel’s interest in achieving thematic diversity.
Texture as Form
Authors: Hurley David Ross 
Published: November 2023

Abstract
During the eighteenth century Handel was singled out for his expertise in fugal writing. Mattheson, for one, included in his famous reminiscences the following evaluations of Handel: ‘When a certain world-famous man came here to Hamburg for the first time, he knew how to compose nothing but regular fugues .’. ‘He was strong on the organ: stronger than Kuhnau in fugue and counterpoint, especially ex tempore.’ Later in the century Charles Burney, in the Account of the Commemoration life Handel, eulogized Handel’s ‘full, masterly and excellent organ-fugues’ in which he ‘surpassed Frescobaldi, and even Sebastian Bach, and others of his countrymen, the most renowned for abilities in this difficult and elaborate species of composition’. Although few would agree with Burney’s assessment today, we need not rely solely on Handel’s contemporaries for high assessments of his contrapuntal ability. Recently Alfred Mann has shown how Handel’s profound understanding of fugal techniques is manifested in his composition lessons for Princess Anne.
The Rough Places Made Plain: Closure vs. Continuity
Authors: Hurley David Ross 
Published: November 2023

Abstract
On the most basic level, the following discussion is devoted to cadences. Where a cadence is placed, whether it is strong or weak, whether it is emphasized or suppressed, has important ramifications for inner form. Our first task in this chapter is to address the issue of rebarring, a common kind of revision encountered in Handel’s oratorios. Such revisions are rarely a simple matter of notation: rebarrings raise significant questions touching not only upon cadence placement, but also upon aspects of meter and thematic construction. In fact, Handel’s rebarrings ultimately will lead us to a profound compositional concern of the composer: the need to produce a continuous musical surface.