bluuebunny/crossref_metadata_2025_split huggingface dataset:
Piano and organ works
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Although Mendelssohn’s piano music contains individual works that are very familiar, it is more varied in scale and mood than is often imagined. The Sonata in G minor, op. 105, is amongst the earliest of all his published works. It was finished in 1821, by which time Mendelssohn was already a prolific composer, and it is thoroughly fluent and sure of itself. In the first movement there are touches of chromatic colour reminiscent of Mozart, but the influence of Haydn is more pronounced, especially in the use of the same material for both first and second subjects. The ideas are not particularly distinguished, but they are handled with considerable resourcefulness.
Chamber music
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Mendelssohn’s early experiments with chamber music during the years 1820-2 included a Violin Sonata in F major, a Trio for violin, viola and piano in C minor, and a Piano Quartet in D minor. For his first published work in 1823 he chose another Piano Quartet, in C minor, which dates from the autumn of 1822. Compared with the still earlier Piano Sonata in G minor, it shows less of the influence of Haydn and more of that of Mozart and Weber. The opening of the first movement suggests Mozart’s Piano Sonata in the same key, and there is a strong flavour of Weber in the gaily operatic second subject. The reference to the opening phrase towards the end of the exposition is a procedure very characteristic of Mendelssohn.
Twilight
Authors: Samson Jim 
Published: November 2023

Abstract
Biography is a presumption. To describe and interpret our own feelings is hard enough. To analyse the feelings of others-and to do so when our victim is long dead-is foolhardy, even when irresistible. The retrospective fallacy rides high in all this. And speculation should be recognized for what it is. Widely different interpretations of George Sand’s attitude to Chopin in 1845-6 have been confidently proposed, and all based on the same sources. Was she in effect trying to extricate herself from the relationship at all costs? Or was she still committed to Chopin, for all her growing reservations about their life together? It is distinctly possible that the feeling between them was irreparably soured in the early months of 1845, but there was little outward sign of it when they set off for Nohant as usual in June. Quite the reverse.
‘Simplicity itself’
Authors: Samson Jim 
Published: November 2023

Abstract
Chopin described simplicity as the ‘highest goal’, achievable ‘when you have overcome all difficulties’.1 A hard-won ‘Periclean simplicity’, marked by a severe exclusion of the extraneous and the merely ornamental, is indeed a feature of much of the music of his final years. Here Chopin reached a new plateau of creative achievement, almost as though the agony of composition, the resistance it set up, wrested from him only music of an exceptional, transcendent quality. Even in song, where Chopin seldom gave of his best, he mustered a refinement of technique and a depth of feeling which transcended the limitations of the salon romance. At least two of the late songs would not have disgraced the finest of the Lieder composers, evidence again that he was less and less capable of producing hack work in these final years.
Choral works
Authors: Watson Derek 
Published: November 2023

Abstract
Part-songs for male voices were popular in mid-nineteenth century Germany and contributions to this aspect of Romanticism were made by Schubert, Schumann, Mendelssohn, Bruckner and Cornelius. From 1839 until the mid-1850s Liszt composed over thirty male voice choruses, either unaccompanied or with piano.
The Bonn Years
Authors: Kinderman William 
Published: November 2023

Abstract
In retrospect, there is something fitting and almost inevitable about Beethoven’s passage from Bonn to Vienna in 1792. The elector, or Kuifurst, at Bonn from 1784 was Maximilian Franz, the youngest son of Empress Maria Theresia of Austria, brother of Marie-Antoinette in Paris and the Emperor Joseph II in Vienna. Max Franz’s assumption of the post was the product of intrigues and negotiations, part of an effort to extend the influence of the Habsburg monarchy into the Rhineland while limiting Prussian influence. As a result of this circumstance, the most intimate connections linked the small city on the Rhine with the distant capital on the Danube, ten times its size.
‘The Heroic style I, 1803–1806
Authors: Kinderman William 
Published: November 2023

Abstract
Eighteen hundred and three was the main year of composition of the Eroica Symphony, the centrepiece of the great stylistic transition that emerged out of Beethoven’s personal and artistic crisis of 1802, a crisis precipitated above all by his incurable loss of hearing. In the Third Symphony Beethoven’s ‘new path’ ascended to a lofty summit with a commanding position in the history of the symphonic genre. The historical and biographical terrain surrounding the Eroica has not yet been exhaustively explored, despite the fame and irresistible fascination of Beethoven’s intended dedication of the work to Napoleon Bonaparte and his angry destruction of that dedication after Napoleon had himself crowned emperor. It is a commonplace of criticism that the Eroica inaugurates or consolidates Beethoven’s ‘heroic’ style.
Triumph 1822–1824
Authors: Kinderman William 
Published: November 2023

Abstract
This is an entry made by Beethoven in a conversation book at the beginning of February 1820: ‘The moral law within us, and the starry heavens above us’. Beethoven’s citation, with its enthusiastic attribution, has been often re-cited and commented on. The conversation-book entry takes on new significance, however, when considered in relation to the genesis of the composition that was occupying-or, rather, consuming-him at the time: the Missa solemnis.
Two Natures
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
Descriptions of Schubert’s nature written after his death by two of his friends from the Stadtkonvikt days provide a starting-point for an attempt to understand the character and personality of the composer. Josef von Spaun, his first benefactor, was one of Schubert’s most reliable, kindly, and generous friends, both throughout his life and long after he died in November 1828. His loyalty to, and affection for, Schubert led him in the spring of 1829 to write in an obituary of his friend: ‘He was uncommonly frank, sincere, incapable of malice, friendly, grateful, modest, sociable, communicative in joy but keeping his sorrows to himself ... free from all bitterness ... his attachment to his home, to his friends and to his native city was so great .. .’ .1
Friends, Publishers, The Gesellschaft Der Musikfreunde (1825-1826, Part II)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
As soon as Schubert arrived back in Vienna, he took up residence again in the Fruhwirthaus. He now began a series of long and convivial evenings socializing with his friends. Bauernfeld’s entry in his diary for early October sums it all up: Schubert is back. Inn and coffee-house gatherings with friends, often until two or three in the morning. Schober is the worst in all this. True, he has nothing to do, and actually does nothing, for which he is often reproached by Moritz.1 From this time onwards, Bauernfeld was rather frequently in Schubert’s company. The close friendship had begun in the previous February and had been interrupted after only three months by the composer’s tour with Vogl. For some weeks that summer, of the inner circle of Schubert’s friends only Bauernfeld and Schwind were left in Vienna. Both kept in contact with Schubert while he was away by letter. Bauernfeld was studying hard for his final law examinations during this period, and in August was delighted to learn that he had passed with flying colours.2
Success and Sickness (1828)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
IF Schubert’s health was causing concern during 1828, there are no recorded references to illness or indisposition until he moved to his brother’s new apartment early in September. To what extent his family and friends were aware of his sickness before this must remain conjectural. To all intents and purposes, and apart from the persistent headaches and later giddiness, which a few of his friends do seem to have known about, he appeared to be reasonably fit and leading a normal life. Further retrospective comments, however, suggest that he was to some degree neglecting himself, spending a lot of time on his own (apparently distancing himself from old friends), sometimes negligent or unreliable (or both) in relationships, drinking heavily, and perhaps indulging in unsavoury sexual activities. Outstanding and influential events of the year included his benefit concert of his own music on 26 March and the betrothal and marriage of Josef von Spaun. If Schubert was spending less time with the usual old friends of the Spaun and Schober circle, he was obviously with musician colleagues and friends more than ever before.
The Final Illness
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
UP to the age of 25 Schubert, by all accounts, enjoyed better than average health. The situation changed radically at the end of 1822 when he contracted venereal disease. Thereafter, such positive descriptions of him as ‘enjoying sound health’,’ ‘so healthy and vigorous’,2 ‘robust physique’,3 appear only in contrast to accounts of his bouts of illness. During the last six years of his life, with the possible exception of a year or so from 1825, he suffered some ill health, and latterly he was to varying degrees a sick man. Although the disease was never named as such by his contemporaries in their memoirs and reports on his life, their allusions to it and the symptoms point indubitably to syphilis. There was no complete cure for syphilis, and the best he could hope for was that the illness, after its secondary stage, would remain latent. If this were the case then, despite the long-term sentence, he could for a while lead an almost normal life; and he could compose music. Although at the start of 1823 he followed his doctor’s advice carefully, Schubert was unfortunate indeed when later that year he succumbed to a recurrence of symptoms.
Renaissance Music
Authors: Caldwell John 
Published: November 2023

Abstract
The period covered by this chapter is from about 1450 to 1600; but the principles already put forward are still largely applicable, especially to the earlier part of the period, while the recom mendations of the present chapter are, insqme respects, applicable to music in Renaissance style written after 1600.
The topics will be discussed in the same order in this chapter as in the previous one, in so far as they remain relevant. The special problems of keyboard and lute music will be dealt with at the end. Owing to its closer approach to the modem system, the notation of Renaissance music in general calls for less elaborate editorial procedures than does that of the Middle Ages. To a large extent they amount to a simplification. The discussions that follow are self-sufficient as far as possible; but a reading of the previous chapter will reveal in some cases the principles on which the recommendations of this one are based.
The Grand chant of the Trouvères: An Introduction
Authors: O’neill Mary 
Published: November 2023

Abstract
C. S. Lewis described the so-called ‘courtly love’ phenomenon in medieval France as a ‘revolution’ compared to which ‘the Renaissance is a mere ripple on the surface of literature’. It is true that nearly one thousand years later it still permeates the imagination and culture of Western Europe. Through the centuries it has inspired an incredible amount of artistic endeavour, expressing itself not just in the narratives, love poetry, art, and music of the late Middle Ages, but its tentacles reaching as far as the opera houses of the late nineteenth century and even to our cinema screens in the twentieth and twenty-ﬁrst centuries. What ‘it’ is remains difﬁcult to pin down, but therein lies, in part, the secret of its allure.
Keyboard Duets
Authors: Ferguson Howard 
Published: November 2023

Abstract
Piano duets, whether on one piano or two, are great fun to play. Their technical demands range from the very simple to the extremely difficult; every pianist, whether amateur or professional, will always find in the vast repertoire something to suit his or her capabilities. Keyboard Duets describes the chronology of the piano duet and music for two pianos, from their earliest beginnings to the present day, investigates various technical problems, and also provides a selective list of original duets with genuine musical or historical interest.
Tintinnabuli
Authors: Hillier Paul 
Published: November 2023

Abstract
In the previous chapter I elaborated how, after Credo, Part did not entirely stop composing, but that this was an activity that consisted primarily of a series of explorations: how to write a single line of melody or combine just a very few notes. At first he studied Gregorian chant and early polyphony—and the Third Symphony and Lau! Annastatule reveal his preoccupation with these styles, though at this point the result is largely mimetic. In further immersing himself in such music, Part sought not to imitate the mechanical devices of its composition, but rather to understand how and in what way these devices served the expressive function of the text. He had already ascertained that the triad itself (rather than simply ‘tonality’) was central to his purpose. To sustain the sounding triad, but be able to move within its all-embracing presence, required not only invention, but some form of reg·ulating discipline, otherwise the energy accumulated within such a powerful and traditional source of stability would quickly turn into rigidity. Part has always demonstrated a need for the constraints of structure, not through lack of invention but from the threat of an excess of it.
The Early Tintinnabuli Works
Authors: Hillier Paul 
Published: November 2023

Abstract
The name ‘tintinnabuli’ was eventually adopted as the collective title for all seven of the 1976 works. A 1978 programme lists their concert order as: In the 1978 Tallinn Festival of Old and New Music they formed the first half of a concert the second half of which was a performance (using voices and instruments) of Dufay’s il1issa L ‘Homme Arme by Hortus Musicus. Although some of these pieces have subsequently been modified in various ways, they have all survived the composer’s later scrutiny and been recorded in one context or another.
Ine Legend: Fact and Fiction
Authors: Allsop Peter 
Published: November 2023

Abstract
If society tends to create its heroes in its own image, in the case of Arcangelo Corelli this process has been facilitated by the singular lack of reliable documentation concerning even the most basic details of his life, long tracts of which still remain a rnystery. From. his baptismal certificate until I 675 in Rome not a single shred of conten1pornry evidence survives, and while the household account books of Cardinal Pietro Ottoboni provide a chronology of his activ ities from 1690 until r706, the lists of musical expenditure are regrettably missing for the remainder of his life. But the ingenious inventions with which successive generations have sought to clothe the remaining skeletal framework reveal a scenario as fanciful as any opera libretto.
The Free Sonatas a 3 (2)
Authors: Allsop Peter 
Published: November 2023

Abstract
If there is some justification for Hawkins’s allegation that Corelli’s Op. 1 shows signs of imma turity, it is generally agreed that the sonatas of Op. 3 represent the pinnacle of his achieve ment in the a 3 medium. After its publication in Rome in 1689, it was immediately reprinted in Bologna, where the Affair of the Fifths seemed not to have deterred either music publish ers or public, and by 1691 it had also appeared in Modena, Venice, and Antwerp. The new collection did displace the earlier one in popularity for a time, for in 1688 Op. 1 had enjoyed new editions in Rome, Bologna, and Antwerp, but nine years elapsed before its next publi cation. With its dedication to the Duke of Modena and implication of the honouring of Corelli’s debt to the duke for favours received, there is no more reason to believe that this publication was intended specifically for church use any more than Op.
The Sonate da camera a 3
Authors: Allsop Peter 
Published: November 2023

Abstract
Of all the genres cultivated by Corelli none would perhaps seem more straightforward than the sonate da camera a 3 contained in the two collections of 1685 and 1694. After all, even among the sources dating from Corelli’s lifetime we have the advantage of a clear and con cise definition, provided as ever in a characteristic over-generalization by Sebastien de Brossard in his Dictionaire de musique.
The ‘Solo’ Sonatas
Authors: Allsop Peter 
Published: November 2023

Abstract
Despite the ever-growing list of apocryphal sonatas, the only lasting testament to Corelli’s achievements as a violinist are the Sonate a violino e violone o cimbalo, Op. 5, engraved in Rome by Gasparo Pietra Santa in 1700. Long after the vogue for the trio sonata had declined in Italy, his reputation survived there due to the phenomenal success of these twelve sonatas, upon which, as Burney informs us, ‘all good schools for the violin have since been founded’.1 Without exaggeration this set may claim to have been the most commercially successful volume of music ever to have been published, with over fifty reprints by I 800, yet despite its ‘profound influence on the history of violin music and violin playing’, Boyden paradoxically concedes that ‘in the history of violin technique Corelli’s works cannot claim to be land marks’,2 while Pincherle asserts that they appear ‘inferior to the Germans, and indeed to the Italians in matters of pure technique.
The Concerti Grossi
Authors: Allsop Peter 
Published: November 2023

Abstract
Among the perennial pitfalls of any study of seventeenth-century music is the imposition of post hoc meanings-often immediately post-Corellian-on terms which were originally broader in application. ‘Concerto’ has come to be associated with a particular type of com position in which there is a clear stylistic contrast between a virtuoso soloist and an orchestral tutti, as in many solo concertos of the eighteenth century. The association of the term with opposition and rivalry is supported by firm historical evidence dating from the late sixteenth century, for Ercole Bottrigari in his fl desiderio (1594) specifically defines ‘concerto’ as ‘con tention or contrast’.
Introduction: Music and Meaning in the CoD1D1ercials
Authors: Cook Nicholas 
Published: November 2023

Abstract
What does music mean, if anything? The question is one of the hardy perennials of musical aesthetics, and there is no shortage of answers to it. Indeed, there is a plethora of seemingly unrelated answers. We can talk about music’s internal structure, about its symmetries and directional motions, about patterns of implication and their realization or lack of realization; moving from ‘the music itself to listeners’ responses, approaches like this offer a psychological approach to meaning (and the work of Leonard Meyer and Eugene Narmour provide the best-known examples). Or we can approach the music from the opposite direction, talking about the context of its creation, the context of its performance, and the context of its reception; here the assumption is that music acquires meaning through its mediation of society. Or again, we can oscillate between these two viewpoints, on the assumption that meaning arises from the mutual mediation of music and society. That is the central assumption of musical hermeneutics, whether we are applying this term to the work of Hermann Kretzschmar in the 1890s or Lawrence Kramer in the 1990s.
Models of Multimedia
Authors: Cook Nicholas 
Published: November 2023

Abstract
In This Chapter I put forward three basic models of multimedia. The intention is to provide an inventory of the ways in which different media can relate to one another, together with an associated terminology for describing them, and I shall outline the three basic models with reference to some of the examples of multimedia encountered so far in this book. But the models and the vocabulary associated with them also provide a framework for reviewing the theoretical content of existing writings on multimedia-in which I include traditional interpretations of song and opera, as well as accounts of relatively marginalized or more recent multimedia genres such as film and music video. The chapter is essentially organized in two passes, then, with the first section functioning as a kind of exposition, and the remainder developing the three basic models in counterpoint with the existing literature. There is no recapitulation.
Dragonetti as a Performer
Authors: Palmer Fiona M 
Published: November 2023

Abstract
Virtuosi may be compared to comets; they are not stationed like com posers in the centre of a circle of which they are the life and soul; they are not governed by common laws; their course is wild and eccentric, they excite a momentary astonishment, and they sweep away into vast dis tances, from which their return is not to be calculated.
DRAGONETTI remams supreme, and uses his instrument as Jupiter his bolts-now hurling the thunder, and now glancing the innocuous light nings of heaven-for thus only can we describe the alternate succession of his powerful and delicate execution.
The Philharmonic Society
Authors: Palmer Fiona M 
Published: November 2023

Abstract
Musicians worked in a cutthroat market-place, open to anyone and unprotected by trade unions, professional associations, watertight contracts, experienced and reliable agents, or generally accepted codes of con duct.
It is difficult, in these days of musical plenty, when there is a superfluity of orchestral organisations, and a still greater number of good players in want of orchestral positions, to realise that in the year 1813 there was no per manent orchestral society in London open to the public, nor was there any society for the performance of Chamber-music; there was no band fit to play really orchestral works, by which is meant those Symphonies, Overtures etc.
Joining a Band1
Authors: Bayton Mavis 
Published: November 2023

Abstract
Typically, a male band starts when a group of friends (usually at the same school, of the same age, and living in the same locality) gradually evolves into a rock group.2 My research suggests that in the past this has not been true of female bands, none of the bands I researched in the 1980s emerging in this way. Amongst the 1995 sample, a handful did but there were often important mediating factors. Two female school student bands developed in the early 1990s in the unlikely setting of an Oxfordshire village, Eynsham, where a single male youth worker played a pivotal role in encouraging girls to set up bands. He paid for and arranged tuition for them from Oxford band members, provided free rehearsal space and access to equipment, and set up prestigious gigs for them in Oxford. Insofar as there has been a change during the 1990s I think this can be related to changing fashions. Since more female school students see playing in a band as ‘cool’ there is a slightly larger pool offemale musicians. However, because bands arise from friendship groups, the tendency among teenagers is to have boy bands and girl bands rather than mixed ones, and this is borne out by my research. Kathryn (Frantic Spiders): ‘It was just doing it with our friends, who were girls.