bluuebunny/crossref_metadata_2025_split huggingface dataset:
Vienna and Viennese music—conditions at the Opera (May–July 1897)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
MUCH has been written about Vienna, yet no one has been wholly successful in explaining the charm that has endeared the city to so many artists; no one has clearly defined the forces that attracted so many composers and for so long made it the musical capital of Europe. It is the meeting place for north and south, for east and west, for a rich profusion of widely different ethnic groups and influences, all of which have contributed to the unique and vigorous blend of Viennese culture. In 1900 Vienna already had a long history as a cosmopolitan city and an imperial capital, while Germany had only recently shaken off the last vestiges of medieval Kleinstaaterei to achieve unification. Vienna was both loved and hated, but its name was never mentioned without admiration and a touch of envy. Gustav Mahler, a provincial boy from a simple family background, had first encountered this enchanting world at the age of 15 and had never completely recovered from the shock of his discovery. It is easy therefore to imagine his secret pride when, now aged 36, he arrived in 1897 to take up a key position in the capital of Germanic music.
Substitute director—opening of the new season—the Opera under Jahn—first reforms (July–September 1897)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
DURING Mahler’s summer of convalescence, among the many hopes and fears disturbing his peace of mind, there now arose once more a problem that he thought had been solved by his departure from Hamburg. If he had not yet broken definitively with Anna von Mildenburg, this was probably because he feared some violent reaction on her part and therefore wanted to avoid giving her an unnecessary shock. Now there was a possibility of her being engaged at the Hofoper, thanks once more to the influence of Rosa Papier and her friend Eduard Wlassack. Mahler’s first letters to Mildenburg from Vienna were friendly and even somewhat paternal in tone. After refusing the offers from America, she sang that summer in Bayreuth and he often gave her advice.
Fresh anti-Semitic attacks—Richter’s departure—Beethoven’s Ninth Symphony—Hirschfeld’s declaration of war (December 1899–April 1900)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
FROM the beginning of 1899 the atmosphere within the Vienna Philharmonic deteriorated, powerful opposition to Mahler having arisen following the events of the previous summer. The warring factions now brought their quarrel into the open, publishing articles for or against the director of the Opera in various Viennese papers. At the annual general meeting of 30 May, Mahler’s opponents moved that the election of the chief conductor be deferred,1 and that Hans Richter be approached to see if he was prepared to resume direction of the concerts. This attachment to Richter was after all quite understandable.
Venice—Paris—Maiernigg—completion of the Fourth Symphony—Gutheil-Schoder joins the Hofoper (April–August 1900)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
AFTER the uproar over the Ninth Symphony, the last two Philharmonic Concerts took place in an atmosphere of relative calm. The seventh concert, on 18 March, began with Haydn’s E flat major ‘Drumroll’ Symphony (No. 103). This and Weber’s Konzertstück (Liszt’s version), with Ferruccio Busoni as piano soloist,1 were acclaimed as ‘outstanding successes’ by the Neue Freie Presse. The other items in the programme were Liszt’s Mephisto Waltz, one of the Philharmonic’s old favourites, and Karl Goldmark’s concert overture Im Frühling. According to Richard Robert, the orchestra had never played better, although certain details in Haydn’s symphony, and in particular the overemotional interpretation of the introduction, had been alien to his style.2
Concerts in the Rhineland—first marital storms—the first Roller collaboration: Roller’s Tristan—première of Louise (June 1902–April 1903)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
ON his return from Krefeld, Mahler spent a week and a half settling affairs at the Opera before leaving for Maiernigg around 20 June. As Alma describes it, his summer life as a newly .married man differed little from his previous bachelor existence. Inspired by his recent triumph, he devoted all his energy to completing the Fifth Symphony. He would get up at his usual hour of 6 or so, and ring for his breakfast of café au lait, diet bread, butter, and jam, which he ate in the Häuschen. According to Alma, the cook had to carry the tray in all weathers up a steep, narrow path, well away from the main one, for Mahler didn’t want to see or speak to anyone before settling down to work.
Calendar of Feasts, Anniversaries, and Royal Observances
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
For Abbot Hilduin (814–41) of Saint-Denis the name of King Dagobert (died c.639) proved an entree to the Carolingian throne in the ninth century. By invoking that name in 1108, Abbot Adam (1099–1122) intended to establish Saint-Denis permanently as the royal necropolis. And Adam very nearly succeeded, for the earthly remains of almost every French ruler from 1137 until the Revolution lay in homage alongside the relics of the patron saint of the monarchy.
Introduction to Liturgy and Music at Saint-Denis
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
The special feasts and rites described in Chapter shaped the calendar of Saint-Denis over several centuries and distinguished the abbey from other houses. Within these celebrations, certain ceremonial and musical features likewise stand apart from those of pre-eminent institutions in Paris and throughout the West. Chapters 3 and 4 survey the most telling of these traits.
Performance Practices, Musicians, and Liturgists
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
Charged with the burials of kings and the yearly commemoration of these events, the monks of Saint-Denis paid close attention to the solemnity of the royal services as early as the twelfth century. The feastdays for the patron saint likewise varied in level of cult from annuale to duplex, and the community showed concern for the performance of its worship when it enhanced the ceremony of older celebrations, created new ranks of feasts, and added festivals to the liturgy in the thirteenth and fourteenth centuries.
The Ideal Audience: The Greeks and ‘The Art-Work of the Future’
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s theory of improvisation presupposes an ideal community which is not set apart from the artist in the way that the darkened auditorium is divorced from the brightly lit stage (thus symbolizing the alienation between art and reality), but which produces the work of art as a matter of course from within its midst, as an integral part of itself. It is a community, in short, which is not yet distinguished from that specific ‘public’ which makes up modern theatre audiences. The ‘mystic abyss’ (ix. 338) between stage and public in the Bayreuth Festspielhaus was a concession to modern necessity which should not be confused with Wagner’s Utopian vision of the ideal relationship between the theatre and its audience. For him, the incarnation of that ideal was always Greek society as manifested in the Greater Dionysia and in the architecture of the country’s amphitheatres.
Improvisation and Vocational Skill: The Poetics of Die Meistersinger
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner completed the full score of Tannhäuser in April 1845, and in early July he set off for Marienbad (Mariánské Láznĕ) in order to take the waters. It was here that he sketched out the first prose draft of a ‘comic opera in three acts’, Die Meistersinger von Nürnberg, a work which was not to receive its first performance until twenty-three years later in Munich. ‘Just as, with the Athenians, a comic satyr play followed the tragedy’, Wagner wrote in A Communication to my Friends six years after this first draft was completed, ‘so I was struck by the idea for a comic play which could indeed follow after my “Wartburg Tournament of Song” as a richly allusive satyr play.’ (iv. 284.) Originally, then, Die Meistersinger was intended as a parodistic variant of Wagner’s Romantic opera about the artist Tannhäuser, a comic interlude in the series comprising Der fliegende Holländer, Tannhäuser, and Lohengrin (the latter conceived and executed immediately after the Meistersinger sketch).
Villa-Lobos
Authors: Wright Simon 
Published: November 2023

Abstract
The music of the prolific Heitor Villa-Lobos (1887-1959) typifies Brazil, in its diversity, spirit of racial amalgam, and awesome beauty. Through the sheer quantity of his output, his original use of folkloric material, and the striking accessibility of his scores, Villa-Lobos has become the best-known and most significant Latin American composer of all time. This book provides an introduction to his music, and by focusing attention on important or unusual works from his large oeuvre, charts Villa-Lobos's own often anguished musical journey through the Brazilian landscape. Jungle, grasslands, river, city, and ocean all find a legitimate place in his aural mosaic of Brazil, but as he approached death his music assumed a deep spiritual quality of peace and resignation. His personal journey of discovery and fulfilment is clearly explained, set against the pervasive backdrop of social and political upheaval which characterized Brazil during Villa-Lobos's lifetime. Simon Wright has lectured, broadcast, and written on all aspects of Latin American music, and was awarded the Rocha Miranda Award of the Anglo-Brazilian Society for research in Brazil.
Themes and Landscapes (1912-1922)
Authors: Wright Simon 
Published: November 2023

Abstract
Although Villa-Lobos’s solitary expeditions around Brazil, embroidered fabulously in his own imagination or not, effectively ended when he met the pianist Lucilia Guimaraes in 1912 and married her on 12 November 1913, in reality his pioneering journey as a composer began at this time. With his supportive, musically accomplished partner, Villa-Lobos was now able to commence his career as a serious musician in earnest. Prodigious talent, energy, and opportunism meant that never again was he forced to return to the itinerant and insecure means of livelihood of his youth.
Bach and Brazil (1930-1945)
Authors: Wright Simon 
Published: November 2023

Abstract
When Villa-Lobos alighted at the north Brazilian port of Recife in June 1930, his intention was to return to Paris as soon as he had fulfilled a series of conducting engagements in the North, and in the city of Sao Paulo. Political circumstances forced him to alter his plans. The October 1930 Revolution brought wily ‘gaucho’ Getulio Vargas to power, overthrowing the moribund, complacent, coffee-oriented Old Republic, and initiating fifteen years of autocratic, though largely benign, dictatorial constitutions for Brazil, and meant that it was temporarily impossible to make payments abroad. Villa-Lobos, unable to remit the rent on his Paris apartment, was evicted in absentia, along with various valuable works of art and, it is thought, the now lost autograph scores of Choros nos. 13 and 14.
Vargas and Brazil (1930-1945)
Authors: Wright Simon 
Published: November 2023

Abstract
While the Bachianas brasileiras reflect the successful application of nationalist principles to concert music and are the most significant single achievement of Villa-Lobos’s many activities during the years of Getulio Vargas’s government, by far the larger part of his energies in that period was concentrated on the composition of educational music, for nationalistic propaganda, and the dissemination of this music and related textual materials. Overnight Villa-Lobos became a prolific man of words, but after the overthrow of Vargas in 1945 his musical and political writings abruptly ceased. The compilation of teaching material, methods, and apologias occupied Villa-Lobos as director of SEMA from 1932 until the foundation in 1942 of the Conservat6rio Nacional de Canto Orfeonico, of which he was also director.
Last Years (1946-1959)
Authors: Wright Simon 
Published: November 2023

Abstract
The sudden fall from power of Getulio Vargas, and the ending of the Second World War, both in 1945, marked a distinct change of direction in Villa-Lobos’s life-style and activities. He was no longer constrained at home by his official duties with SEMA and the CNCO, although he continued to take an active administrative role in both organizations, and the lifting of restrictions on world travel after the war meant that he was able, for the first time in many years, to travel frequently abroad. Particularly as a conductor of his own music, but also as a broadcaster and lecturer, Villa-Lobos spent the last years of his life almost entirely as an unofficial Brazilian ‘ambassador of Art’ (as he termed it), using the newly-opened air passenger routes to best advantage. His old base of Paris continued to welcome him, and he also explored territories new, such as Great Britain and Israel, but the major centre of activity soon proved to be the United States of America, where he found sympathetic audiences, promoters, publishers, recording companies, and commissioners. Villa-Lobos first visited the USA in October 1944, and he continued to appear there at least once every year until his death.
The Plainsong & Mediaeval Music Society, 1888-1988
Authors: Hiley David 
Published: November 2023

Abstract
A volume of centennial essays calls for a historical introduction, an outline of the history and aims of the Plainsong & Mediaeval Music Society. Unfortunately, any attempt to write such an account runs into a more or less insuperable obstacle: the lack of early records of the Societys activities. Some early publications list members of the Society, and one can be found in the first volume of Paléographie musicale Various editions of Grove’s Dictionary state the original aims of the Society—‘to be a centre of information in England for students of plainsong and medieval music, to publish facsimiles of important manuscripts, translations of foreign works, etc.; to form a catalogue all plainsong and measured music in England dating from before the mid-16th century; and to found a choir (The New Grove Dictionary, article by H. C. Colles revised by the present author).
Establishing the Order of a Latin Liturgical Celebration
Authors: Harper John 
Published: November 2023

Abstract
All the information included in this book serves to provide an introduction to the framework and pattern of formal Western liturgy. But at every turn there have to be caveats—local practice, seasonal variation, variation over a period of time. The same information can also be used as a base to establish the order of a specific liturgy in an identified foundation at a particular period of time. Of course this is a highly complex and specialized procedure, and it is only possible to give practical pointers here.
The Ordering of Selected Medieval Sources
Authors: Harper John 
Published: November 2023

Abstract
The descriptions of the Office, Mass, and other liturgical observances in Chapters 6 to 9 are inevitably general. The guidance given in Chapter 12 on establishing a specific liturgical celebration is equally open—intended to prepare the reader for problems, rather than following through identified, detailed solutions. What follows here is more specific. It is intended to introduce the reader to the organization of a number of surviving medieval sources. The individual sections of this chapter should be useful for anyone attempting to establish the order of a liturgy, or simply as an introduction to the ordering of a source.
Wagner’s Later Stage Works
Authors: Whittall Arnold 
Published: November 2023

Abstract
WAGNER’s life can scarcely be considered in other than Romantic terms, as a highly eventful affair of opportunism, intrigue, intransigence, and the dogged pursuit of the ideals and ambitions which ultimately found fruition in the Bayreuth Festival. And dangerous though it is to search for simple parallels, there can be little doubt that the composer’s life and works match each other in their eager embrace of restlessness and rhetoric, and their reliance on that ‘instinctive impulse’ which, Wagner believed, characterized the nature of the creative artist’s gift.1 Nevertheless, the more one examines his life, from the time he completed Lohengrin in 1848 until his death thirty-five years later, the more amazing it seems that Wagner found either the time or the inclination to undertake any creative work at all. The works are more a triumph over the life than a mere illustration of it.
The Symphonic Poem and Kindred Forms
Authors: Abraham Gerald 
Published: November 2023

Abstract
IT has been remarked in an earlier chapter that perhaps the most characteristic form of Romantic orchestral music was the concert overture, and at the middle of the century, as music aspired still more ardently towards the qualities of the other arts, the programmatic concert overture began to develop new characteristics and acquired a new generic title: ‘symphonic poem’. (It was first employed by Liszt, on the occasion of a performance of his Tasso Overture at the Weimar Court on 19 April 1854.) Under its cover composers felt freer to indulge in structural licences like those taken by Mendelssohn in Meeresstille und gliickliche Fahrt and Berlioz in Le Carnaval romain, and in the devices of tone symbolism and tone painting that were still regarded with suspicion, if not hostility, by many musicians at the middle of the century. It is impossible to draw a defining line between the early symphonic poems and contemporary concert overtures; the terms were for some time almost interchangeable. It is true the scores of symphonic poems were generally prefaced by literary programmes like those to Berlioz’s Symphonie fantastique and Spohr’s Die Weihe der Tone, but so too, occasionally, were the scores of overtures.
Christian Chant In Syria, Armenia, Egypt, And Ethiopia
Authors: Velimirović Miloš 
Published: November 2023

Abstract
The first Christian communities outside Jerusalem and Palestine were formed in the city of Antioch, and thus the territory of present-day Syria was one of the first areas in which Christianity gained sizeable followings. The first significant translations of Christian writings were made in Syria. It was also from Syria that missions started in the direction of Armenia and Greece, while Alexandria appears to have received its Christian message directly from Jerusalem.
Chants of the Roman Mass
Authors: Crocker Richard 
Published: November 2023

Abstract
The repertory of Gregorian proper chants for the Mass-Introits, Graduals, Offertories, and Communions-is as a whole more stable than that for the Office. A number of additions were made to the repertory over the centuries, including new formularies for newly established feasts; new texts (or newly selected texts) were set, usually to older melodies. The Frankish-Roman formularies, however, were left almost completely intact, and with appropriate controls can be read out of modern chant books. The melodies themselves may also turn out to be more stable than those for the Office; but variant apparatus for the Mass chants is still not available, and work on the manuscript traditions for the Office chants has scarcely begun.
Other Churches
Authors: Strohm Reinhard 
Published: November 2023

Abstract
In the Middle Ages, Bruges had two collegiate churches. This slightly unusual situation may have been due to the rival claims of the bishops of Tournai and Utrecht: whereas the burg with St Donatian’s was founded under the patronage of Tournai, the territory on which Our Lady’s arose in the eighth century originally belonged to the chapter of Utrecht. Our Lady’s was a parish church as early as 909, and elevated to the status of a collegiate church in 1091 by the bishop of Tournai. According to the legend, the church had been founded by St Boniface in 744; in any case, it later possessed some relics of this saint and of his companions Cyrobaldus and Hilarius, which were gifts of the abbey of Fulda.
The Musical Repertory
Authors: Strohm Reinhard 
Published: November 2023

Abstract
The music which was produced and performed in Bruges in the late Middle Ages was a cross-section of the major trends in European music as a whole. For music as well as for the other arts, Bruges was a centre of production and even more of consumption and distribution. Its trade supremacy provided not only an economic foundation, but also specific opportunities for cultural exchanges with other regions and countries. While the role of Bruges in the history of the visual arts is widely appreciated, it is hitherto unknown what music was once heard within its walls–whether composed there or not. It is not possible here to fill this gap completely, but a surprising number of extant musical works and manuscripts can be connected with the city at least tentatively–enough material to put Bruges back on the musical map of Europe.
1883–1884
Authors: Bordman Gerald 
Published: November 2023

Abstract
As it had in so many recent seasons,. the American theatre provided its patrons with a more or less continuous stream of passable entertainment, which, as “dull,” Alice Brooks’s Desdemona as “feeble,” and J. A. Arneaux’s Iago as “a passable ‘amateur’ delineation,” then went on to record the “roars of laughter” provoked by “J. S. Webster’s Rodrigo, an amazing specimen of namby-pambyism and awkwardness, and by G. F. Chinn’s Brabantio, whose facial and tonsorial ‘make up’ was strikingly suggestive of the head of a skye terrier.”
1893–1894
Authors: Bordman Gerald 
Published: November 2023

Abstract
The new season was one of the finest Broadway had ever seen, although Broadway was not prepared to acknowledge that at the time.
Of course, contemporary viewpoints and hindsight frequently provide disparate perspectives. Certainly there was no reason for late nineteenthcentury American playgoers to conclude that the preceding season had initiated a new era on American stages. A few did, not many. In any case, breaking up theatrical history into eras is usually a matter of arbitrary convenience and not irrefutable. But the quality of so many of the plays to reach Broadway in this new theatrical year was striking. First of all, American playwrights did themselves proud. Second, England gave us two plays that are still occasionally revived. And from the Continent came several plays that remain accepted as classics, even if they are rarely presented any more on this side of the Atlantic. In some instances the failure of the Continental plays here may be attributed to faulty initial mountings. But the utter neglect now of the season’s best American work is sadly indicative of our modern theatre’s smug refusal to reexamine its past with the same dedication that Europe brings to exploring its own.
1894–1895
Authors: Bordman Gerald 
Published: November 2023

Abstract
Except possibly for the succession of marvelous seasons that so rightly excited theatregoers beginning about the time of World War I, great theatrical years rarely follow one another. Coming after the brilliant showing made by the previous season, 1894-95 was no exception. True, two of the best 19th-century English comedies had their New York debuts, and England also sent over some other good plays and noteworthy players, one of whom gave producer-star, Sadie Martinot, told the cast she could not pay their salaries.