bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Longer Trill
Authors: Badura-Skoda Paul , Clayton Alfred 
Published: November 2023

Abstract
As we have seen, there was a great deal of variety in the seventeenth century and at the beginning of the eighteenth century with regard to the execution of the trill. The French trill beginning on the auxiliary gradually gained the upper hand, especially in the second half of the eighteenth century. 1n the course of the nineteenth century this trill then went out of fashion. At no time, however, was one of the two forms entirely displaced by the other.
Pre-English Literary Influences
Authors: Schroeder David P 
Published: November 2023

Abstract
THE historical view of Haydn is that of a composer with a singularly musical mind, not tempted by distractions such as reading literature. Indeed, the opinion advanced by Giuseppe Carpani in his Le Haydine (1812), that Haydn was ‘an illustrious idiot’, seems to have stuck with unusual tenacity for over a century and a half. Rosemary Hughes among others echoes this in her widely distributed study in which she labels Haydn ‘the most unliterary of men’, possessing a library consisting ‘largely of technical treatises on music’. This view of Haydn was altered drastically in 1976 with the publication of Joseph Haydn und die Literatur seiner Zeit, a collection of essays edited by Herbert Zeman, treating subjects such as Haydn’s involvement in literary salons, the reception of English literature in Austria, and an itemized list of Haydn’s library of literary works.
The Lodge ‘Zur wahren Eintracht’
Authors: Schroeder David P 
Published: November 2023

Abstract
Among the eight Masonic lodges in Vienna before the end of 1785, one in particular stood out as a centre of enlightened activities. As such, this lodge, ‘Zur wahren Eintracht’, proved to be a natural gathering place for people who were in a position to influence the intellectual, moral, and social direction of the nation. Indeed, it included among its members the leading writers, scientists, and social reformers in Austria, and ulti¬mately Haydn as well. Speculation on the extent of Haydn’s interest in Freemasonry has been a matter of curiosity among Haydn scholars for at least a century, but it was not until 1985 that a publication appeared which addressed the issue seriously. Unlike Mozart, who was very active as a Freemason for at least a decade, Haydn’s tangible interest in Freemasonry appears on the surface to have been fairly slight. The primary documentation currently available is of very little help. In fact, it seems to cancel itself out as Haydn is seen on the one hand to be professing an interest, and on the other neglecting to attend any meetings after his initiation.
Early Plans: Mahler’s ‘Smphonie Humoreske’
Authors: Zychowicz James L 
Published: November 2023

Abstract
Among the earliest autograph materials for the Fourth Symphony is the plan of movements that Mahler made for a Fourth Symphony with the subtitle ‘Symphonie Humoreske’. Such a plan would serve as a point of departure when he actually began to work on the music. Mahler himself confirmed this as his initial conception of the work when he later admitted to Bauer-Lechner that he ‘only wanted to write a symphonic Humoresque [eine .rymphonische Humoreske]’.2 This early plan is for a six-movement work with programmatic titles for each movement, and this conception bears a subtle relationship to the completed Fourth Symphony. Mahler eventually abandoned this plan for the Fourth Symphony as a ‘Symphonie Humoreske’, but some of its elements were part of his early thoughts on this new composition.
Preliminary Sketches
Authors: Zychowicz James L 
Published: November 2023

Abstract
When Mahler began to compose a symphony, he started with single-page sketches, most likely based on ideas found in sketchbooks. In general these ‘preliminary sketches’, as they have become known, contain some of the principal ideas Mahler would take into the finished work. Preliminary sketches, by their nature, are less continuous than later ones, and they sometimes include Mahler’s earliest attempts at some self-contained passages. These sketches occur on single, full-size pages, often ripped bifolio sheets, which sets them apart from the work he undertook in sketchbooks. Yet the content of the preliminary sketches can vary from page to page, even within the materials for a single movement.
Draft Score
Authors: Zychowicz James L 
Published: November 2023

Abstract
For Mahler the draft score or Partiturentwuif was the first full score of a symphony with individual parts clearly specified. While he had made indications for instrumentation sporadically in the early drafts, he realized those ideas concretely and consistently only in the draft score, where he also resolved many of the issues related to the continuity of the music so that he could give the work its final shape. Most importantly, the draft score gave Mahler the opportunity to attend to the details of instrumentation, dynamics, tempos, articulations, phrase markings, and other elements that would bring the music closer to performance. While a close correspondence often exists between the draft score and short score, Mahler could still revise the structure of the work later, in the fair copy.
Introduction
Authors: Hurford Peter 
Published: November 2023

Abstract
THIS is a book about making music; and making it on an instrument which, in its long history, has successively been revered and reviled, ravaged and reformed. It is a book written by a player, for those who are curious as to the organ’s musical potential, whether players or listeners. It is not a musicological treatise, neither is it a primer, there are numerous books and articles which delve in depth into the instrument’s history, or which discuss organ design or interpretational matters, while various countries each have favourite books of exercises to help students in their search for technical proficiency. Rather is it meant for the encouragement and inspiration of those who are attracted by the pipe-organ, yet find it foll of problems which all too often seem to defy their attempts at music-making.
How the Organ Works
Authors: Hurford Peter 
Published: November 2023

Abstract
ANY performing musician should have a working knowledge of his instrument, so that at least he may be aware of the extent of its potential for music-making, as well as possessing, perhaps, sufficient technical knowledge to be able to cure minor ills prior to, or during, performance. The skill of an instrument maker he does not need; but an awareness of basic theory will give him a more sympathetic relationship with his instrument, and will contribute to that integrity of player-and-instrument that is so desirable in musical performance. This chapter provides an outline of such basic features of organ design and construction as may have some useful bearing on performance practice.
Some Thoughts on Interpretation
Authors: Hurford Peter 
Published: November 2023

Abstract
In seeking the ‘best’ interpretation, the performer is striving to re-create the spirit of the music as perhaps it was first conceived by the composer, and to project it to the listener in the most convincing manner of which he is capable. To this end, it is important for him to consider the techniques and spirit of the age in which the music was written. However, he would be unwise to try slavishly co emulate a manner of performance possibly employed by the composer, to the exclusion of his own educated musical instincts. For quite apart from questions of technique, instruments, or environment, it must be said that the creator’s view of his own work is not ultimately definitive, nor is he necessarily its ‘best’ performer; other musicians often find subtleties that the composer himself had not been conscious of generating. Sometimes, indeed, it can seem that the composer does not write as himself, but as a medium for the Zeitgeist of his time; the spirit of the age speaks through him, and his agony is one of comprehension and development.
Text and Form
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
GESUALDO was a composer who created principally to a text. It is therefore imperative to establish the textual basis of the madrigal, the principal object of his attention. A detailed survey of the madrigal’s textual development is, of course, beyond the scope of this study.1 Nevertheless, it is important to indicate something of the change in the relation of text to music which took place in Italian secular music after the beginning of the sixteenth century, before devoting our attention to the texts Gesualdo himself set and to their influence on the musical form of his madrigals.
The Madrigals: Books III &IV
Authors: Watkins Glenn , Stravinsky Igor 
Published: November 2023

Abstract
THE third and fourth books of madrigals were largely written during Don Carlo’s relatively continuous sojourn in the city of Ferrara from 1594 to 1596, but partly also during his six-month return to Gesualdo in the second half of 1594. Book III appeared on 19 March 1595 (reprints: Venice, 1603, 16II, 1619), Book IV in 1596 (reprints: Venice, 16o4, 16II, 1616). The initial publications of 1595 and 1596 included an editorial preface by Hettore Gesualdo and appeared under the auspices of the ducal printer Vittorio Baldini. The later Venetian printings were all under the imprint of Gardano, and this long-standing association presumably stemmed from Gesualdo’s visit to that city as early as 1594.
The Origins of the Mensural System and Mensuration Signs
Authors: Berger Anna Maria Busse 
Published: November 2023

Abstract
There are many questions to raise about the evolution of these signs, questions so basic they have yet to be asked. Why, for instance, was there such a confusion with regard to mode signs, but not for tempus, prolatio, and sesquitertia signs? It would seem that three strokes to indicate perfect mode are less ambiguous than the circle as a sign of perfect time. And, more to the point, why did musicians use these particular signs to indicate mensurations in the first place? The use of the three strokes to show perfection does not require any explana tion, especially if the strokes correspond to rests. But the circle, semicircle, and inverted semicircle do. It is not enough to say that the circle is round and therefore perfect, or that the semicircle is half of the circle and therefore imperfect.
Queen’s Hall
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
Francesco Berger began a second decade as secretary with undiminished energy. His extensive innovations in concert planning and management could not always satisfy everyone’s expectations, but they kept the Society afloat, without diminishing its status. Stability, if fragile, was most opportune, because the 1890s boom in London’s concert life lasted only a few years. A proliferation of orchestras and events competed for audiences which failed to materialize in sufficient numbers, and with enough regularity, to support music and musicians. Robert Newman’s Queen’s Hall Orchestra was founded in I 895; the London Symphony Orchestra in I 904, as a players’ co-operative in defiance of Henry Wood’s attempt to reform the deputy system; the New Symphony Orchestra followed; then the Beecham Symphony Orchestra, and so forth. Although these bands had access to an over flowing pool of players, none offered enough employment and security to command full-time commitment, and a chance to build ensemble and a particular style, as with the best European and American orchestras.
Theatritcal Life In The Time Of Storace
Authors: Girdharn Jane 
Published: November 2023

Abstract
The role of music in the London theatres towards the end of the eighteenth century has been woefully underplayed in modern theatrical histories, which focus on spoken drama and therefore consider English operas only on the merits or otherwise of their words. This neglect extends from operas themselves to the musicians who made them possible, making it hard for us to appreciate either the importance of music in the ,whole show, or the active musical life of the theatres.
Boyhood
Authors: Elliott Graham 
Published: November 2023

Abstract
Such was the well-ordered life of the boy Britten. He was born, auspiciously, on St Cecilia’s Day, 22 November 1913, the youngest child of a comfortably placed middle-class family. Britten’s father was a successful dentist and was able to support his wife and four children in a house where servants were kept and where the nursery was managed by a nanny. Benjamin Britten’s mother was an enthusiastic musical amateur who took an active part in local music-making and who held musical evenings at her home. Edith Britten is said to have had a pleasant soprano voice, and there can be no doubt that Britten’s earliest musical experiences were provided by his mother.
Two Churchmen
Authors: Elliott Graham 
Published: November 2023

Abstract
Donald Mitchell has written of the consistency of Britten’s themes and concerns and of the remarkable way they were sustained throughout his life (see Chapter 5). There is no doubt that one of the strong influences in his childhood and youth was the awareness of the Church and the religious observance encouraged by his mother. That the nature of his religious attitudes changed during the course of his life is not in doubt: that a strong spiritual dimension formed part of his thinking throughout his life would be entirely in sympathy with Donald Mitchell’s view of the composer.
Parable Music III: The Operas
Authors: Elliott Graham 
Published: November 2023

Abstract
No one would challenge the notion that all Britten’s operas have a message: in that sense they are all morality plays in the tradition of the Chester Miracle Plays from which he drew Canticle II ‘Abraham and Isaac’ and Noye’s Fludde, and from which he was to draw the libretto for the Christmas sequence on which he was working at the end of his life. But it would be wrong to suggest that the message is always Christian, except in so far as the Christian tradition does encompass many of the moral concerns which are manifest in the operas.
The Hamburg Collection
Authors: Clausen Hans Dieter 
Published: November 2023

Abstract
HANDEL’S works have come down to us more extensively and more comprehensively than those of any other composer of the time. This is the result not only of the great popularity of their creator, but also of the great pains that he bestowed on their preservation. This seems to have been one of the tasks which he entrusted to Johann Christoph Schmidt (anglicized hereafter as John Christopher Smith), the friend who had followed him from Germany to England. It is surely unique for a composer to have assembled in his own home two separate archives, one consisting of autographs and the other of conducting scores, quite apart from other archives which were commissioned by individual collectors who wanted complete sets of the composer’s works. That Handel needed two archives casts light upon his working method, which is characterized by an especially intensive exploitation of musical material as well as by the utmost economy in using his time.
The Aylesford Collection
Authors: Roberts John H 
Published: November 2023

Abstract
SURVEYING the chief Handel collections known to him in his Account of the Westminster Abbey Commemoration of 1784, Charles Burney called particular attention to ‘the collection of the earl of Aylesford, formed by the late Mr. Jennings’, in which ‘are preserved in MS. many valuable works of our author’.1 Mr Jennings was of course Charles Jennens (the pronunciation was evidently the same in those days, whatever it was), and the music library he had bequeathed to his cousin the 3rd Earl of Aylesford in 1773 was indeed remarkable, including as it did the largest and most comprehensive collection of Handel copies assembled by any of the composer’s contemporaries along with many other important music manuscripts. For a hundred years this Collection remained safe in the possession of the Earls of Aylesford, but from 1873 it was gradually sold off, the bulk of the manuscripts being auctioned at Sotheby’s in 1918. More than four hundred volumes were ultimately acquired by Newman Flower, the Handel biographer and collector, and are now in the Newman Flower Collection of the Henry Watson Music Library in the Central Public Library in Manchester. But the remaining prints and manuscripts were widely dispersed, some passing from hand to hand until the owners had no idea of their illustrious origin. Fortunately it is possible to trace most of the manuscripts to their present locations and to identify, at least in summary fashion, the contents of a number of others.
The Music-Paper used by Handel and his Copyists in Italy I706—1710
Authors: Watanabe Keiichiro 
Published: November 2023

Abstract
THIS survey of Handel’s Italian music-paper derives from the study of the Italian copyists which I carried out jointly with Dr Hans Joachim Marx in Hamburg in 1987. The results of our investigation of the rastra were not included in our thesis;’ they are now set out for the first time. The survey will shed new light both on Handel’s Italian autographs and on the copies made by the scribes who worked for him.
Italian Source-Studies and Handel
Authors: Everett Paul 
Published: November 2023

Abstract
THE extent to which the appraisal of Handel manuscripts has aspects in common with the present writer’s field—the investigation of Italian manuscript repertories, particularly those of Vivaldi’s music—has not yet been determined. In principle, at least, studies in these two areas are similar and should therefore prove to be complementary and of assistance to each other, especially since Handel was intensely active in Italy for a short period. Some mutually useful evidence may emerge; certain Vivaldi and Handel documents might employ, for instance, the same Venetian paper-types, characterized by the generic watermark of three crescents (tre mezze lune), of the kind Dr Watanabe discusses elsewhere in this volume, i or similarly exhibit the handwriting of a particular Roman copyist. The existence of any connections of this kind which indicate the contemporaneity of particular Handel and Vivaldi sources seems doubtful, however, simply because the time when most Italian Handel manuscripts are likely to have been created is distinctly earlier than the period from around 1713 to which virtually all Vivaldi manuscripts belong.
Cast, Librettist, Composer
Authors: Larue C Steven 
Published: November 2023

Abstract
Although in modern times we most often think of the composer as being the central figure in the creation of an opera, in the first half of the eighteenth century the opera-composer’s artistic choices were often considered to be so limited as to be insignificant. ‘Before he actually starts to write the music’, wrote Benedetto Marcello in 1720.
Conclusion
Authors: Larue C Steven 
Published: November 2023

Abstract
Certainly one of Handel’s greatest achievements in the Royal Academy operas was his dear understanding of the relationship between singer, librettist, and composer in the composition of effective opera seria. If his autographs had not survived, we could only judge his ability in this capacity by gathering what information we could about his singers and librettists from contemporary documentary evidence, the printed librettos, and the performing scores and other copies. The survival of the autographs, however, makes it possible for us to evaluate this particularly important aspect of Handel’s opera composition from a completely different point of view. Having determined many of Handel’s compositional concerns, and having evaluated his reactions to many different compositional situations, a number of conclusions about his compositional choices and how they reflect his aesthetic choices can now be drawn.
C
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
CAESAR, Philipp Heinrich (b Mannheim, 24 Jan. 1784-d Lenk, 21 Sept. 1843). Caesar emigrated from Mannheim to Switzerland, where he com pleted his first Swiss instrument, an organ, in 1814 in Burgdorf. He set up his first workshop in Solothurn in 1816 but moved to several other locations in that city in the following years. He died in an avalanche after completing an organ installation in the village of Lenk. (Rindlisbacher/KLAV, 55)
Poulenc Au Theatre: La Chair Et Le Bon Dieu
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
It is not surprising that, after his Rocamadour works, Poulenc felt a need for relaxation—coinciding with the end of the war, for Figure humaine was first performed in 1945. The cantata he believed to be his ultimate justification (‘I play it every day and its under lying integrity and faith foil my foulest mood, my harshest self criticism’). After it, he needed to unwind, and did so by returning to the theatre and to his first love, Guillaume Apollinaire: whose farce, Les Mamelles de Tiresias, had been written as long ago as 1903, but was not produced, with a new prologue and epilogue, until 1917—that critical year in which Francis had met the three artists to whom he owed most, Satie, Eluard, and Apollinaire himself. Poulenc set the text as an opera bouffe in Offenbachian tradition, dedicating it to the composer among his friends most likely to appreciate it, Darius Milhaud.
Poulenc Entre L’ Église Et La Salle De Concert
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
The religious music of Poulenc’s Rocamadour years had consequences a decade or two later. After the Second World War he sought relaxation from the war’s turmoil and from the intensity of this music in letting off steam in his Apollinaire-based opera bouffe, Les Mamelles de Tirésias; he also wrote, in 1948, a religious work that fulfils a comparable function, for the Quatre Petites Prieres de Saint Franfois d’Assise take their texts from a saint famous for benevolence towards created nature.
‘Child Rowland to the dark tower came.’
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
The words spoken in the storm of King Lear became a title for Browning’s poem of wandering in desolation. They were set down again in one of Edward’s sketchbooks near the tum of the century. The Enigma solved with a triumphant ‘E. D.U.’ did not after all resolve inner doubts.
The Wanderer
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
The date of Alice’s death, 7 April 1920, was inscribed by Edward beside four lines copied from Swinburne: Let us go hence, my songs; she will not hear. Let us go hence together without fear; Keep silence now, for singing-time is over, And over all old things and all things dear. Before their marriage, his music had found no way to create a large design. The marriage had inaugurated his artistic achievement because Alice had given the constant assurance he lacked in himself. Swinburne’s lines made the epigraph to a left-over life.
Some Images of Monody in the Early Baroque
Authors: Hanning Barbara Russano 
Published: November 2023

Abstract
Monody, or accompanied solo song, was new at the end of the sixteenth century only in that it was being composed rather than improvised, written down by humanist-educated performers who believed in the power of the solo voice to move their listeners by conveying the words clearly and by imitating the affections underlying the text through purposeful vocal ornamentation and graceful nuancing. This new style of art-song included a different type of accompaniment as well, which consisted of an instrumental rendering of a supporting line with some simple harmonies, unfettered by the competing contrapuntal parts that had been a feature of Renaissance vocal music. To be sure, monody had much in common with the Renaissance humanist tradition of the improvised song recitations of courtly lyric and narrative poetry, which were self-accompanied on harp or lyre in the manner of Orpheus and other ancient bards. But it was also different enough and sufficiently celebrated to spark a new interest among the poets and painters of the early Baroque.