bluuebunny/crossref_metadata_2025_split huggingface dataset:
Meditation (1960) Gunther Schuller (born 1925) Text by Gertrude Stein
Authors: Manning Jane 
Published: November 2023

Abstract
This interesting sample of vocal writing from one of the leading composers in the United States is contained in New Vistas in Song, a splendid volume. Although the musical idiom is atonal, the extreme clarity of the writing should allow piano cues to be heard with ease, and the sinewy vocal lines give the singer much opportunity to aim and poise notes neatly. It is always pleasing to find such precision of language, and the work instantly appeals to the eye as well as to the ear.
Three Auden Songs (1983) Hans Werner Henze (horn 1926) Text by W. H. Auden
Authors: Manning Jane 
Published: November 2023

Abstract
Today’s major composers are now returning to the medium of voice and piano after a time of comparative neglect. Many have tended to regard the piano’s resonances as unsuitable for a contemporary sound and too strongly evocative of the 19th century; they preferred to leave it in the hands of composers of a more determinedly conservative bias.
Five Songs on English Poems (1974) Daniel Manneke (born 19 39)
Authors: Manning Jane 
Published: November 2023

Abstract
In this welcome addition to the low-voice repertory, Manneke (a Dutch composer) employs space-time notation for the first three songs. Full explanatory notes are provided in the score. The fourth song uses conventional notation and, in the last song even greater freedom is employed in notating the voice part.
Scotch Minstrelsy (I982) Judith Weir (born I954) Text adapted from Scottish folk ballads
Authors: Manning Jane 
Published: November 2023

Abstract
The dashing wit, variety and characteristic brilliance of Scotch Minstrelsy makes it a most attractive addition to the tenor repertory. The clearly presented music (a model in this respect as all instructions are to the point and immensely helpful) even looks appetising on the page and instantly tempting to the performer.
The Voice of Love (I966) Nicholas Maw (born I935) Text by Peter Porter
Authors: Manning Jane 
Published: November 2023

Abstract
This particularly satisfying and substantial song cycle rewards the careful study required to master its difficulties. It represents the composer at his most passionate and compelling, and the eight songs provide a fine chance to display the widest ranges of mood, character and vocal timbre. Variety of timbre is especially important, as a fairly long work such as this can be made to seem dull if sung in a monochrome tone, however beautiful. A composer who writes so lusciously for the voice may suffer for it. Singers are sometimes apt to neglect the more subtle dynamics and pour out a uniformly warm mezzo-forte while they inwardly relish their own sound.
Celebration of Divine Love (I96I) Malcolm Williamson (horn I 931) Text by James McAuley
Authors: Manning Jane 
Published: November 2023

Abstract
Malcolm Williamson’s most exciting (and neglected) song cycle is a tremendous tour de force for both singer and pianist. (The composer himself is a formidable player.) The visionary and fervently religious text is matched by music of the greatest variety of mood and texture, full of character and dynamic rhythms. Although the work runs continuously, its many subsections are clearly defined and the interest never flags.
Peripheral Visions (I984) George Nicholson (born I949)
Authors: Manning Jane 
Published: November 2023

Abstract
It is a pleasure to find a lighthearted work which is satisfying on many different levels and is unerringly tasteful; its humour is never mis judged or heavy. Nicholson’s piece is delightful, and both a joy and a challenge to sing. As well as the usual devices found in a song written in a contemporary idiom there are a few special effects: breathiness and inhaling audibly, for example. These are clearly indicated in the music.
La Onina, Gauguin (1978) John Casken (born 1949) Text by John Casken
Authors: Manning Jane 
Published: November 2023

Abstract
This is one of the most exciting and powerful songs it has been my pleasure to perform. It repays every bit of the considerable effort needed to master the composer’s detailed markings and frequently innovative vocal devices. The whole soprano range is used with tremendous skill, making the cycle a marvellous vehicle for a singer of commitment and high standard of musicianship. Many of the technical feats are used with great originality and they illustrate superbly the extremely effective conception.
The Papal Chapels and Italian Sources of Polyphony during the Great Schism
Authors: Bacco Giuliano Di , Nadas John 
Published: November 2023

Abstract
It is our aim in the present essay to develop the documentation and ideas first presented in a study of the late fourteenth-century papacy that focused essentially on the administrative history of the papal chapels and, in particular, the early careers of the composers Johannes Ciconia and Antonio Zacara da Teramo.1 Here we wish to explore the implications of the documentary evidence even further, assessing in more detail the consequences of the presence of the papal chapels in Italy in the early years of the Great Schism (1378-1417): the creation of a musical repertory and its circulation in manu script sources of the period.
Corelli’s Orchestra
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Rome in the seventeenth century resembled Paris in several respects. Like Paris, it was a capital city. The Pope ruled as temporal and absolute sovereign over the Papal States, stretching from Rome and the Campagna across the Apennines to Bologna and on to the Adriatic. In addition, Rome functioned as the capital and administrative center for the worldwide operations of the Catholic Church. Rome, like Paris, was a magnet for wealth. Money flowed into the papal coffers from taxes and duties within the Papal States and also from the sale of ecclesiastical offices and papal dispensations. Besides the income of the Pope, money came to Rome from the religious orders, whose headquarters were located in the city, and from foreign countries that maintained embassies there.
The Orchestra in France
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
In France the orchestra began in the seventeenth century as a de facto royal monopoly. Only Louis XIV, the Sun King, had the resources to combine string bands, winds, keyboards, and lutes into large, unified ensembles on an ongoing basis. The orchestra at the Academie Royale de Musique was an explicit monopoly: by the King’s edict of 1672, only the Opera was allowed to have an orchestra containing “more than six violins or other instrumentalists” (see Ch. 3). As a royal monopoly, the orchestra represented and symbolized the French monarchy and the absolutist system to the world-not only through its size, but also by its variety, discipline, repertory, and performance practices.
The Life and Times of an Eighteenth-Century Orchestra Musician
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
Who was an orchestra musician in the eighteenth century? What kind of life did he lead? Where did he live? What did he wear? How much money did he make? Who were his friends? What was his social standing? Answers to questions like these vary according to individual circumstances and also with place and time. The life of a violist in Salzburg in 1720 was very different from the life of a first violinist in Milan in 1750, different again from a London oboist in 1790. Yet there were similarities too. The life of the Salzburg violist was not all that different from that of instrumentalists in Bonn or Eszterhiza or other German court Kapellen.
The Meaning of the Orchestra
Authors: Spitzer John , Zaslaw Neal 
Published: November 2023

Abstract
When it was born in the late seventeenth century the orchestra was a novelty. Never before had people heard music so loud, so grand, and so forceful. The orchestra, moreover, represented a new kind of social organization: a large number of people doing the same thing at the same time in precisely the same way. Because the orchestra was new and different, people found it hard to characterize in words. Sebastiano Locatelli, an Italian traveler, struggled to describe the French string band that he heard in Lyons in 1664: “The music in this region is made by, how should I say it, an assembly [radunanza] of players on violins, violas, and basses, as many as 40 or 50 at a time.
The Stimulus
Authors: Tunley David 
Published: November 2023

Abstract
The period between the Age of Racine and the Age of Voltaire was once described by the French writer Paul Hazard as a ‘vague tract, a sort of dubious no-man’s land in which all kinds of discoveries and unlooked-for adventures may await the explorer’. Coinciding with the declining years of Louis XIV’s reign it witnessed the resurgence of that characteristically restless European spirit which had been for a time ‘lost in contemplation’, to use Hazard’s phrase, of the graceful classical age it had created towards the middle of the seventeenth century. By the end of this century the first blows at the Sun King’s proud edifice had been struck.
Stylistic Traits in French and Italian Vocal Music of the Baroque Era
Authors: Tunley David 
Published: November 2023

Abstract
So far our study has attempted to uncover some of the social roots of the eighteenth-century French cantata; it is now time to turn to the major musical influences that generated its growth. Inevitably this must lead to an examination of French and Italian styles as they manifested themselves in music of the late seventeenth century, for the cantata was the result of one of the attempts in French music to reconcile the two. Not that iris the intention here to review the polemical literature which so diverted the musical public of that time-this has been adequately covered by other writers but, rather, to analyse some of the national musical characteristics which have a particular bearing upon the style of the French cantata, although space precludes anything more than a brief study of their melodic, harmonic, and structural elements.
The Early Cantata Composers (i) Jean-Baptiste Morin And The Emergence Of The Eighteenth Century French Cantata
Authors: Tunley David 
Published: November 2023

Abstract
To the minds of eighteenth-century writers on the subject there was no doubt that the paternity of the French cantata could be traced to Jean Baptiste Morin (1677-1745), ordinaire de la musique in the household of the Duke of Orleans. The Duke’s enthusiasm for Italian music may have been kindled by Marc-Antoine Charpentier, who taught composition to the future Regent of France,1 and, as has been mentioned earlier, the royal pupil in turn encouraged his musicians to compose and perform in the Italian style. The House of Orleans seems to have been a veritable incubator of musical Italianism in France, and it is therefore not at all surprising that the first three French composers to publish books of cantatas inspired by the Italian form were attached in some way to Philippe Ill’s household.
Performing Mr Purcell’s ‘Exotick’ Trumpet Notes
Authors: Downey Peter 
Published: November 2023

Abstract
On 9 November 1686 Nicholas Staggins, Master of the Music, was paid ‘for faire writeing of a composition for his Majesty’s coronation day from the originall in score the 6 parts, [and] for drawing ye said composition into forty several parts for trumpetts, hautboyes, violins, tennors, [and] bases’. While the composition itself has not survived, the payment record supplies some very illuminating information. Assuming that he was the composer rather than the arranger, Staggins’s piece, which was performed on 23 April 1685, holds the honour of being the earliest recorded example of English scoring for full Baroque orchestra, anticipating by almost five years the orchestra used by Henry Purcell in the Yorkshire feast song (Z333) of 1690. Although it is often suggested that the ‘composition’ was, in fact, one of the coronation anthems performed on that date-Purcell’s ‘My heart is inditing’ (Z30) has been proposed, despite the major scoring and textual mismatches -it seems to have been a purely orchestral work which was performed separately from the coronation service itself The casual manner in which the scoring details are given suggests that the inclusion of trumpets was not so remarkable at this time. In addition, the instruments are listed in an order which mirrors that found in similarly scored English works which date from the 1690s.
Ornamentation in the Keyboard Music of Henry Purcell and his Contemporaries
Authors: Johnstone H Diack 
Published: November 2023

Abstract
Purcell’s keyboard music is generally regarded as one of the less important areas of his output, and so it is, in terms of quantity at any rate; his true genius lay elsewhere, especially in his wonderful setting of English words. Nevertheless, what we do have--eight harpsichord suites, some thirty-odd miscellaneous pieces, and a mere five (or is it sixã) organ voluntaries-is by no means to be despised; some of it, indeed, is very fine, and in the manner of its performance, its ornamentation in particular, is subject to certain conventions which are not only interesting in themselves, but are still, even in these days of historically enlightened stylistic awareness, by no means universally understood.1 Time was, and not so very long ago either (as witness Thurston Dart’s edition of the Matthew Locke keyboard works published by Stainer and Bell in the late 1950s), when it was thought expedient to translate the ornament signs used by post-Restoration English composers into their nearest and rather more familiar eighteenth-century equivalents. Such a procedure is entirely unnecessary, however, in that the system of stenographic sigla used by Purcell and his contemporaries must surely be considered one of the most logical and visually coherent ever devised.
Voice Ranges, Voice Types, and Pitch in Purcell’s Concerted Works
Authors: Morris Timothy 
Published: November 2023

Abstract
Searching for evidence of pitch standards for secular music in the Baroque period is often like trying to find the crock of gold at the end of the rainbow. Each time you think you can see it before you, and head confidently towards it, you find that it has moved on ahead of you. From every viewpoint, the evidence leads to a different conclusion. Surviving instruments often tell conflicting stories, even where the pitch of an instrument can be accurately determined. But this is often not possible-with stringed instruments, for example-and many instruments have been altered at a later date. In any case, it is usually impossible to identify the occasions on which a particular instrument was played or the music for which it was intended. To attempt to identify the pitch of vocal lines, without considering other related evidence, might seem an impossible task.
Calling Up Genius: Purcell, Roger North, and Charlotte Butler
Authors: Savage Roger 
Published: November 2023

Abstract
How did Dioclesian go down at its premiereã ‘It gratify’d the Expectation of Court and City.’ And King Arthurã ‘The Play and Musick pleas’d the Court and City.’ What about The Fairy-Queenã ‘The Court and Town were wonderfully satisfy’d with it.’ If we can believe John Downes, who was Dorset Garden Theatre prompter at the time, patrons in pit, box and, quite possibly, gallery as well hugely enjoyed the new ‘semi-operas’ of the early 1690s for which Purcell provided the music. That is good to know; but we know next to nothing about what it was those courtiers and citizens specifically and especially relished, or how they ‘read’ what they saw and heard. How illuminating it would be if just a dozen relevant letters, diary jottings, and memos survived to supplement the evidence of playbook, press-puff, theatre score, songsheet, act-tune collection, and the recollections of Downes himself when one is trying to call up the particular genius of those shows. One joins the band of mourners lamenting that Samuel Pepys had given up writing his shorthand diary so long before; after all, he was still alive, well, and living in Westminster in Purcell’s last years.
Purcell’s Dioclesian on the Dorset Garden Stage
Authors: Muller Julia , Muller Frans 
Published: November 2023

Abstract
The original title for Henry Purcell’s first semi-opera, written in 1690, was The Prophetess: or, The History of Dioclesian (Z627), It was adapted ‘after the manner of an opera’ from the Fletcher and Massinger play The Prophetess of 1622 by Thomas Betterton, actor-manager of Dorset Garden Theatre, and a full score was printed by Heptinstall the following year. After Gottfried Finger’s The Virgin Prophetess appeared in 1701, the Purcell opera was often referred to as Dioclesian, which title has also been used by the Purcell Society. A full discussion of its provenance can be found in Henry Purcell’s First SemiOpera Dioclesian which was written with the intention of contributing to a scrupulous production of this neglected work. However, it soon became clear that to stage an early opera properly, far more research would have to be done on the non-musical and non-verbal aspects of the work, including the theatre architecture, stage design, costume, gesture, choreography, and their contemporaneous connotations. Technical research into the construction of Dorset Garden Theatre, where the semi-operas were first staged, has led to new insights, and contemporary illustrations have contributed to a reconstruction of the original stage picture.
Trembleurs and Cold People: How Should They Shiverã
Authors: Sawkins Lionel 
Published: November 2023

Abstract
‘that exquisite piece called the freezing piece of musick’. In a report of the 1990 annual meeting of the National Early Music Association, we read that ‘the question of tempo led to a rather nebulous discussion, and the only thing that all agreed on was that tempo could never be a definite quantity despite metronome markings, ... being influenced by factors such as the type of occasion, the acoustics and the size of the performing group’. But, while the ‘factors’ just listed may sometimes be valid enough to modify tempos, they cannot be an excuse for ignoring the contemporary evidence, especially when that evidence does provide ‘definite quantities’, and may be directly linked to the composer whose music is being performed. Yet apparent ignorance of the evidence is manifest not only in many performances and recordings of French baroque music but also in relation to at least one Purcell work. Equally important to any interpretation that the composer might recognize, were he to drop in on the tercentenary celebrations of his demise, is the question of tempo relationships. At the very least, we should surely be asking: how persistent were the traditions of mensural notation and relationships in the late seventeenth century,3 and what evidence is there in prefaces and theoretical treatises of the time, especially in Purcell’s own writings, for both ‘definite’ tempos and their relationshipsã If we attempt to answer these questions, we may find that the answers to many others relating to performance practice become clearer.
Court, Government and Society in Mozart’s Vienna
Authors: Beales Derek 
Published: November 2023

Abstract
IN this paper I shall discuss aspects of the political, social and intellectual situation in Mozart’s Vienna-aspects which are of real importance to Mozart scholarship but which have been neglected or actually misrepresented. In particular, I shall take up certain issues that are unsatisfactorily handled in the catalogue of the great bicentenary exhibition in Vienna, Zaubertone: Mozart in Wien981-1791. My main purpose is to show what a peculiar, or exceptional, place Mozart’s Vienna was, and to suggest that his attitudes and career can be understood only by reference to that peculiarity.
Sketches during the Process of Composition: Studies of K.504 and K.414
Authors: Somfai László 
Published: November 2023

Abstract
IN the present state of Mozart studies-when the individual volumes of the NMA have given access to the existing sketches in their reconstructed or presumed musical chronological context, but a systematic and unbiased edition of the sketches according to the sources still awaits publication-there are two ways in which Mozart’s sketches may usefully be considered. One, of course, would be through a comprehensive and systematic study of the complete sketch material, without preconceived theories, using every kind of method to collect and classify data in order to understand the compositional process and to distinguish characteristics of Mozart’s working habits from features of individual cases.
‘To Serve the Private Pleasure’: Expression and Form in the String Ouartets
Authors: Allanbrook Wye J 
Published: November 2023

Abstract
THE proper end of chamber music, states Heinrich Christoph Koch in the Musikalisches Lexikon, was originally ‘to serve the private pleasure of the regent or the court’,1 an end that involved certain predictable consequences for the development of the chamber style. Since chamber works were intimate entertainments for the connoisseur, they could support ‘more development and finer nuance’ than could the public monuments composed for those other two important eighteenth-century venues, the church and the theatre.
Catalogue Arias and the ‘Catalogue Aria’
Authors: Platoff John 
Published: November 2023

Abstract
‘SUCCESS has a thousand fathers, while failure is an orphan’.1 This saying may help us understand the widespread interest in proposing models or antecedents—’fathers’, if you will—for Leporello’s ‘Catalogue Aria’ in Act r of Da Ponte and Mozart’s Don Giovanni. In a recent history of opera, for example, it is stated that a patter catalogue aria in Haydn’s Orlando paladino ‘must surely be ranked as the forerunner of Leporello’s ... aria’:2
Introduction
Authors: Dunsby Jonathan 
Published: November 2023

Abstract
Because for the first time in my publications I write deliberately in the first person, I begin with a story that seems to me to stamp the whole enterprise. ‘Whole’ is not written extravagantly, for after all this is a deliberately controlled number of pages, readable in one sitting by those who have the luxury of it, or in snatched time by busy students or people on commuter trains. The modern academic tendency to equate number of pages with extent of thought is some thing I do not claim to comprehend or find historical evidence for.
Venice
Authors: Talbot Michael 
Published: November 2023

Abstract
By the early eighteenth century, when Vivaldi was just beginning his career, Venice’s once considerable economic power had ebbed to a point where culture rather than trade or manufacture was her most characteristic field of activity. Like a magnet she drew visitors in huge numbers from all over Europe, who observed her institutions, admired her buildings, wondered at her ceremonies, thronged to her theatres and gaming houses, and frequently departed with a memento, perhaps a painting or a musical score. The dependence of Venetian painting and music on foreign patronage, which we can date very roughly from the beginning, around 1660, of that custom known as the Grand Tour, obviously benefited the Republic’s exchequer and for a long while stimulated creativity, although eventually it was bound to devitalize the arts by cutting them off from the roots of their inspiration. Just as the favourite genres of settecento Venetian painters – portraits and views of the city – seem ‘made for export’, so too composers came to put more and more of their effort into readily exportable types of music (for example, the opera and the concerto) at the expense of genres serving local needs.