bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dublin
Authors: Spink Ian 
Published: November 2023

Abstract
Despite the fact that the bulk of the population of Ireland was Catholic, the Prayer Book was re-established there as in England, and, at least in the fifteen or so cathedrals with vicars choral, the follcathedral service should have been restored. But it was really only in Dublin, with its two cathedrals-Christ Church, a monastic foundation re-established in 1541, and St Patrick’s, an ‘old foundation’-that anything comparable with England was to be found.
London
Authors: Spink Ian 
Published: November 2023

Abstract
London’s cathedral was St Paul’s·····a great medieval secular foundation and in 1660 the largest Gothic church in Europe. Just over a mile up-river was Westminster, where the abbey church of St Peter, dissolved at the Reformation, had been re-established in I 560 as a ‘Royal Peculiar’ with Dean and Chapter and a lavish choral and educational foundation. A few hundred yards to the north was the palace of Westminster, where the king had his court and Chapel Royal.
Wells
Authors: Spink Ian 
Published: November 2023

Abstract
At the archiepiscopal visitation of I 634, the Dean and Chapter of Wells stated that under their statutes the choir consisted of ‘fowerteene vicars at the least, one organist, six coristars’. Post-Restoration records suggest that it was kept pretty well up to strength, with priests or laymen without distinction varying in number between eleven and fourteen, including the organist.
Pfitzner and the Lied
Authors: Williamson John 
Published: November 2023

Abstract
The two genres which Pfitzner most persistently cultivated were chamber music and song, but whereas his quartets and sonatas have established their reputations mostly among connoisseurs, his songs have been the subject of wider acclaim and are more regularly performed. Song-writing was not a lifelong preoccupation for Pfitzner. His interest in the Lied broke off in 1931 with a group of sonnets after Burger and Eichendorff that have an unmistakably valedictory character, not least through a quotation in the last (‘Das Alter’, Op. 41 No. 3).
Nationalism and Modernism
Authors: Williamson John 
Published: November 2023

Abstract
The first performance of Palestrina on 12 June 1917 in Munich under Bruno Walter was the most visible sign of a climax to Pfitzner’s career. In reasonably close succession followed his adoption as a member by the Royal Swedish Academy and the foundation of a Hans-Pfitzner-Verein for deutsche Tonkunst. His music of this period was possessed of a resultant self-confidence, as evidenced in the finale of the Violin Sonata (written for Stockholm), while Das Christ Elflein in its new version as a Spieloper represented the most complete working-out of the folk-like vein which always resided in his style. But then came the military disasters of late 1918 which led to his departure from Strasbourg.
Opera under Gallini (1785–1790)
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
The four seasons between 1785 and the destruction of the King’s Theatre in June 1789 were operatically the best of any during the last two decades of the eighteenth century. London came closer to being pre-eminent in Italian opera than at any time since the 1720s. No wonder Mozart and Haydn both had hopes of crossing the Channel.
Haydn and the Opening of the New Theatre, Spring 1791
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
In January 1791 the state of Italian opera in London could fairly be described as muddled. William Taylor was working frantically to complete his theatre but had little prospect of obtaining legal authority to open it. A company had been hired for both opera and ballet, but how could it be paid unless it could perform?
The Revision of Counterpoint and the Embellished Style
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in a German translation as ‘Die Neuordnung des Kontrapunkts undderverzierte Stil’ in Italienische Musiktheorieim 16. and 17. jahrhundert: Antikenrezeption und Satzlehre, volume 7 of Geschichte der Musiktheorie, edited by Frieder Zaminer (Darmstadt: Wissenschaftliche Buchgesellschaft, 1989), 265-92. This is one of four chapters in a section entitled ‘Die Jahrzehnte um 1600 in Italien’ (221 – 306) that I was commissioned to write by the Staatliches Institut fiir Musikforschung, Preufßischer Kulturbesitz, Berlin. I submitted the English version of the essay published here in July 1980.
Although there is some overlap with Essays 2, 3, and 4, the redundant material is here placed in a larger context, and it seemed worthwhile to preserve the English version in this way.
Vincenzo Galilei’s Counterpoint Treatise: A Code for the Seconda pratica
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay first appeared in 1956 in the Journal of the American Musicological Society, 9 (1956), 81 96. A shorter version was read on 28 December 1955 at the annual meeting of the Society in Princeton, New Jersey. This was not a time when much attention was paid to the work of theorists of the distant past, whether published or not. Scholars went to them mostly to solve problems of transcribing and editing early music and to seek answers to questions on how to perform it.
Marco Scacchi’s Defence of Modern Music (1649)
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in Words and Music: The Scholar’s View, A Medley of Problems and Solutions Compiled in Honor of A. Tillman Merritt By Sundry Hands, edited by Laurence Berman (Cambridge, Mass.: Department of Music, Harvard University, 1972), 189–235.
Boethius in the Renaissance*
Authors: Palisca Claude V 
Published: November 2023

Abstract
This paper was prepared for the conference ‘Musical Theory and Its Sources: Antiquity and the Middle Ages’, held at the University of Notre Dame 30 April to 2 May 1987. It was first published in Music Theory and Its Sources: Antiquity and the Middle Ages, edited by Andre Barbera (Notre Dame, Ind., 1990), 259–80.
Towards an intrinsically Musical Definition of Mannerism in the Sixteenth Century
Authors: Palisca Claude V 
Published: November 2023

Abstract
THIS convegno, it might be said, is about a word in search of a concept. Scholars, quite rightly, prefer to put concepts into words. But having chosen the word, they often find that it has enriched or even unduly amplified the concept. Or the word may restrain a concept from reaching out to embrace what it ought logically to include.
The Alterati of Florence Pioneers in the Theory of Dramatic Music
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in New Looks at Italian Opera: Essays in Honor of Donald]. Grout (Ithaca, NY: Cornell University Press, 1968), 9-38. It is a reworking of a paper read at a meeting of the Greater New York Chapter of the American Musicological Society at the New York Public Library on 28 April 1962. The research in Florence in 1960–1 on which this essay was based was made possible by a fellowship from the John Simon Guggenheim Memorial Foundation.
Introduction
Authors: Hudson Richard 
Published: November 2023

Abstract
The Italian word rubato means robbed or stolen. Tempo rubato is stolen time. The expression appears during the first half of the eighteenth century to describe a practice in baroque vocal music: some note values within a melody are altered for expressive purposes while the accompaniment maintains strict rhythm. This type of rubato continues in vocal and violin music well into the nineteenth century. Keyboard music incorporates this earlier type of rubato during the second half of the eighteenth century. Eventually, however, the expression tempo rubato begins to refer to rhythmic alterations not only in the melody, but in the tempo of the entire musical substance.
Background of the Earlier Rubato
Authors: Hudson Richard 
Published: November 2023

Abstract
The sort of rhythmic robbery involved in the earlier rubato occurs well before 1723 in a number of compositional devices and techniques of performance practice. It appears during the Middle Ages and Renaissance as a notated aspect of melodic variation in compositions for keyboard and plucked string instruments. During the second half of the sixteenth century a similar procedure occurs also in the improvised ornamentation practised by singers and players of melody instruments. After 1600 the technique is employed more and more for expressive purposes.
Violin Music in the Sixteenth Century
Authors: Boyden David D 
Published: November 2023

Abstract
Much of the specific information about the origin and development of the violin, related in the first two chapters, raises provocative and tantalizing questions. What kind of music was composed for the violin during the first century of its existence? Who played it, how was it performed, and under what conditions? Was the music written for the early violin of three strings different from that for the four-stringed violin after 155o-or, for that matter, from music for the viols? Was the violin used to accompany voices in such prevailing forms as the masses, motets, chansons, and madrigals? To what extent did the violins usurp the place and role of their ancestor instruments?
The Technique of the Violin, 1700-61 (II): The Right Hand. The Bow Stroke and Bow Change. The Rule of Down-Bow
Authors: Boyden David D 
Published: November 2023

Abstract
Tn theighteenth century, as always, the musical effectiveness of the violinist depended on the skilful co-ordination of the right and left hand, each of which played a distinct role, but a role that was complementary to the other. The left hand was responsible for fingering and for certain means of attaining expression and colour, notably vibrato, ornaments, harmonics, and the tone colours of different strings in their different hand positions. The right hand was responsible for producing the tone in general and for giving it an expressive eloquence through the variety of bow strokes, through the dynamic nuances applied to them, and through such special effects as pizzicato and sul ponticello. While these are the general responsibilities of the right and left hand in all periods of violin playing, a difference of degree or emphasis distinguishes one period from another. Compared to modern custom, for instance, the eighteenth-century violinist used a less intense vibrato, he used it less frequently, and he practised a bow stroke that was less sustained but more articulated and nuanced.
Specific and Improvised Ornaments. The Cadenza
Authors: Boyden David D 
Published: November 2023

Abstract
By 1700 the conventional ornaments, such as the trill and mordent, were indicated increasingly by signs. This method was simpler than writing out the notes; and, if it was less exact, it had other advantages, including a greater liberty to the performer and a quick distinction between what was ornamental and what was structural in the music. In certain cases, as in Tartini’s appoggiaturas, the use of grace notes (‘small’ notes) implied the addition of a particular kind of nuance as well as slurring the appoggiatura to the following note (cf. p. 455). The specific signs also had the effect of preventing further ornamentation, as opposed to a part written out in ‘big’ notes.
North German Church Music in the Age of Buxtehude
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Dietrich Buxtehude (c. 1637-1707) was the greatest figure in the history of German music between Schutz and Bach. His church music is performed today, yet that of his North German contemporaries (such as Matthias Weckmann, Christoph Bernhard, Nicolaus Bruhns, and Johann Meder) has received comparatively little attention. This book, taking its lead from Jerome Roche's illuminating study North Italian Church Music in the Age of Monteverdi (OUP, 1984), presents an overview of the North German church music of Buxtehude's lifetime, much of which remains unavailable in modern editions. It challenges widely-held beliefs about the nature and development of the repertory, and of the place held by Buxtehude within it. The picture that emerges is of a repertory that is far more beholden to Italian influence that has previously been appreciated, and one that is not dominated by any single figure. After discussion of the religious background and liturgical context in which the music was performed, Geoffrey Webber examines the manner in which Italian church music became known and performed in the region, and surveys composers from all the principal courts and cities in the extensive North German and Baltic area. He highlights the relationship between the social context in which individual composers worked and the nature of their output. After a detailed analysis of the repertory itself, the book concludes with an examination of issues relating to performance practice.
Introduction
Authors: Webber Geoffrey 
Published: November 2023

Abstract
Dieterich Buxtehude has stood pre-eminent in the study and performance of German music of the mid-Baroque period ever since the awakening of interest in his music in the mid-nineteenth century. The early figures in the Buxtehude revival, among them Johannes Brahms and Philipp Spitta, focused their attention principally on Buxtehude’s organ music, and it is still this part of Buxtehude’s œuvre that receives greatest attention today.
The Influence of Italian Music
Authors: Webber Geoffrey 
Published: November 2023

Abstract
While the importance of Italian music in the development of German music in general during the seventeenth century is widely recognized, its specific influence on late seventeenth-century German church music has received little direct attention. Modern scholars of German music have tended to focus their attention on the chorale; yet the large majority of sacred works composed by North German composers during Buxtehude’s lifetime had no connection with the chorale and were composed in direct imitation of Italian works. In this chapter I examine the background to the Italian features found in North German church music of the period, and explore the channels through which the Italian style was transmitted to the North German region.
Johannes Brahms Trio In A Minor For Pianoforte, Clarinet, And Violoncello, Op. I 14
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Like Beethoven’s Eighth Symphony, this work has suffered by comparison with a very much larger work which its composer brought out at the same time. The last thing contemporaries in any age will learn is that great artists are fond of varying the size of their successive works; and, fortunately, the last thing great artists will think of is to oblige the prejudices of those admirers who wish them always to work on the same scale. Brahms did not, perhaps, go so far as Beethoven, who, when he was told that his beloved ‘little’ Eighth Symphony had not pleased so well as his great Seventh, said, ‘That’s because it’s so much better.’
Adolf Busch Variations And Fugue For Small Orchestra On A Theme Of Mozart, Op. 19
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This is an earlier work than the set of variations on a Mozart theme by Dr Adolf Busch that was produced at a Reid Concert two years ago.1 The theme is the trio of a minuet [K. 568 No. 5] from one of Mozart’s sets of dances written for the public ballrooms of Vienna. Dr Busch gives it in Mozart’s original scoring-for strings without violas, and with a flute and bassoon taking turns to double each phrase of the melody, varying the repeats with displays of their flea-like agility.
Claude Debussy
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The later poetry of Mallarme represents an effort to make an abstract music out of the sounds of words; and it is the outcome of a jealousy that was growing in the minds of the poets of more than one language in the last days of the nineteenth century. Why should words be tied down to sense when music was free from any such external restrictions? Meanwhile, however, musicians were yielding to the pressure of popular curiosity and displaying an increasing tendency to make their music illustrative of an external story, poem, or picture. And so the two tendencies meet in the beautiful work in which Debussy, entering upon the second phase of his sensitive and severely limited art, ‘illustrates’ an early poem by Mallarme.
Joseph Haydn
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This Quartet is known as the ‘Emperor’ Quartet, obviously because of its slow movement. It has other claims to greatness, being the third of the wonderful half-dozen in Haydn’s Opus 76, of which we heard the fifth at a previous Sun day Concert recently.1 The remarks on Haydn’s freedom of form which I made on that occasion apply no less to the present example, though the first movement is in as normal a sonata form as Haydn allows himself to write in these late works. Its grand high spirits are in perfect keeping with the piety of the slow movement, in which one of the world’s greatest melodies is played unadorned by each instrument in turn, while the others surround it with expressive harmonies and counterpoints, until in a final variation it rises to mysterious heights and dies away in a solemn descent to earth.
Victor Rely-Hutchinson Variations, Intermezzo, Scherzo, And Finale For Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
This work was published in 192 7 in the Carnegie Collection of British Music. My acquaintance with the composer began when he was some IO years of age and already a voluminous writer. He worked at counterpoint with me for some years, and afterwards became a pupil of Holst. As far as any external influence can be traced in this set of variations, there is a suggestion of Holst’s fondness for rhythms of seven beats; and the melodic vein may be regarded as Hely Hutchinsonian, Holstian, or English, according to the listener’s disposition to worry about antecedents.
Joseph Joachim Elegiac Overture In Memory Of Heinrich Von Kleist, Op. 13
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Many features in the form and emotional scheme of this work, which was com posed about 1855, show how powerful was the influence of Joachim upon Brahms. In particular the pathetically mysterious ‘development section’ and the tragic irony of its serene return to the ‘second subject’ foreshadow the corresponding parts of Brahms’s great Tragic Overture, written many years later. It is impossible in a small space to do justice to the freedom of form and orchestration and the subtlety of thought of such a work as this.
Frederick Septimus Kelly Serenade For Flute And Small Orchestra, Op. 7
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Commander F. S. Kelly, DSC, RNVR, left but a small collection of compositions to represent him as a musician.1 Those who have known him, and watched the steady irresistible growth of his mastery of life, will always be convinced that music, which was his central means of expression, was an art in which he was sure to achieve something unique and complete. The two works produced on this occasion can do no more than indicate the beginnings of what was, in process of expression, restrained only because it was all comprehending. With him there was a time for everything. His duty towards music did not distract him from his duty towards life, nor did life distract him from music.
Édouard Lalo Violoncello Concerto Ind Minor
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
There are very few violoncello concertos; and of those that exist the listener and the player will prefer the ones in which the violoncello can be heard. The violoncello is a sonorous instrument with twice the compass of the violin, whose top notes it can reach with as little effort as if it had no low notes to climb from. It has also a wide range of effects, many of which are ingenious; but the temptations of the ingenuity are towards the gruntulous and the grotesque, and the solo violoncello may easily be driven to develop these qualities in the effort to assert itself against an orchestra which is always normally above it in pitch.
Gustav Mahler Orchestral Song Cycle, Kindertotenlieder
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
The genius of Mahler is at its best in these settings of Riickert’s pathetic poems with their delicate untranslatable simplicity. Mahler was in the first place one of the greatest conductors that ever lived. As a composer he showed, from an early age, an immense facility which, up to his death in 1911, tended to outrun discretion. His master, Bruckner, was the symphonic writer of the Wagnerians, and was probably the least facile artist that ever achieved anything.
William Beatton Moonie
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
If instrumental music is to explain any part or aspect of its contents by some extraneous matter, it can have no more inspiring and congenial such matter than a painting by a master devoted to the pursuit of pure beauty. The art of painting itself, far more extensively and more often than music, draws inspiration from extraneous sources; indeed, the tendency to restrict it to ‘absolute’ painting is among the most modern of innovations, being even more modern than the tendency, now quite academic in its respectability, to neglect ‘absolute’ music and to insist on regarding all music as illustration of something else.
John Powell Rhapsodie Negre For Pianoforte And Orchestra
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Mr Powell was born at Richmond, Virginia, on 5 September 1882. He studied the pianoforte under Leschetizky, and composition under Navratil, in Vienna. He has composed many large works-for the piano forte, for orchestra, and for combinations of chamber music. His forms originate from those of the sonata, with a tendency towards the continuity of the symphonic poem. His sense of movement is eminently and happily active in passages that lay down the chief motives of the music in an improvisatorial style, and he never fails to gather up his threads in a fine climax.
John Reid
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
It is time that General Reid’s marches should be restored to the condition in which he left them. In the first place, the one known as The Garb of Old Gaul, instead of being his only work, is No. 4 of a dozen. I do not say that the rest of the dozen are very markedly different from it; but we may as well recognize that he could, even in strict march rhythm, invent more than one tune. There was a time when I thought it might be advisable to return, when opportunity offered, to the custom of singing The Garb of Old Gaul as a chorus; but on looking it up I find that the poem, being adapted to recollections of the Napoleonic wars, refers to our present allies in terms no longer tactful.
Franz Schubert Overture In C Major, ‘In The Italian Style’, D. 591
Authors: Tilmouth Michael , Kimbell David , Savage Roger 
Published: November 2023

Abstract
Schubert’s Overture in C major, ‘In the Italian Style’, is the larger of the two works which he wrote when seized by the Rossini fever which devastated Europe in the early nineteenth century. If, in a recent Reid Concert, Schubert’s D major Overture had been exchanged for that of Rossini’s Tancredi, I am not sure that I as a listener should have known the difference. Tancredi is far from the cheekiest of Rossini’s overtures; and Schubert lacks aplomb in his first effort to cock an Italian snook.