bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sir Peter Pears
Authors: Elliott Graham 
Published: November 2023

Abstract
Musing on his own perceptions of Britten’s ‘themes and concerns’, Peter Pears observed that ‘what is an essential part of you must perfume all that you do’. Pears has long been acknowledged as one of the greatest English singers of the twentieth century, and a foremost interpreter of the music of Benjamin Britten. He shared with Britten a remarkable personal and professional partnership which lasted for almost forty years from the creation of the relationship in 1937 until Britten’s death in 1976. Any attempted assessment of the personal and professional motivations in Britten’s life and work must pay due regard to the views of Pears, and the memories of the many years they lived and worked together.
Summary
Authors: Elliott Graham 
Published: November 2023

Abstract
The life and work of Benjamin Britten are remarkably well documented in a wide variety of articles and books. It would be surprising if such a vast amount of material did not contain a good deal of speculation on the subject of the com- poser’s personality and motivation, and about the non-musical forces in his life.
Those who wrote commentaries during Britten’s lifetime were careful to avoid any direct reference to his homosexuality. Philip Brett examines the phenomenon at considerable length in his book Benjamin Britten: Peter Grimes, and he refers to the tendency to euphemism on the part of writers who, he states, were prone to use such phrases as ‘emotional immaturity’ to describe Britten’s sexual orientation.
Plainsong and Hymn Tunes
Authors: Elliott Graham 
Published: November 2023

Abstract
This extract from a letter written by Britten to his mother, soon after his arrival at Gresham’s School (quoted in Chapter 2, page 11), and it demonstrates the contrast in churchmanship in the school chapel with the tradition of Low Church worship to which Britten had been exposed in his regular attendance at St John’s, Lowestoft. The extract is more significant as an indication of what was, in all , Britten’s first experience of plainsong. Whatever the impression made on Britten by the plainsong he heard and sang at Gresham’s, there is ample evidence that plainsong formed one of the recurring ‘themes’ throughout his career. Coupled with his evocation of bells and his occasional use of hymn tunes, it supplied a fruitful means for evoking ‘things spiritual’, and frequently provided germinal material for melodic development.
Miscellaneous Aspects of Horn Playing
Authors: Schuller Gunther 
Published: November 2023

Abstract
The first of these is the problem of intonation. Naturally a prerequisite for good intonation is the acquiring of a critical ear. Given this, it is a relatively easy matter to play in tune on a horn—I would say easier than on most other wind instruments. For on the horn there are three aids in controlling intonation. The first is manipulation of the right hand in the bell. A slight opening of the hand-to be exact, a movement of the wrist away from that side of the bell closest to the player’s body-results in raising the pitch. Closing in with the hand-i.e. towards the body side of the bell—will lower the pitch.
Origin and Incorporation of the Poetic Texts
Authors: Cooper Barry 
Published: November 2023

Abstract
Whereas the melodies supplied by Thomson came mainly from Scotland, Ireland, and Wales, the texts were mostly provided by English and Scottish poets. The most substantial contributor was William Smyth (1765–1849), son of a Liverpool banker, and Professor of History at Peterhouse, Cambridge, from 1807 until his death. Passionately fond of music (including Beethoven’s), he wrote much verse, and his English Lyrics went through five editions including a posthumous one in 1850.
The Ritornellos
Authors: Cooper Barry 
Published: November 2023

Abstract
Beethoven’s opening and closing ritornellos are, if anything, even more remarkable than his accompaniments to the folksong settings. Unfettered by the restrictions of the melody, he was able to give full rein to his free imagination, and the ritornellos display many of the most characteristic features of his style, as well as a high level of originality, despite their limited length and scope.
A Reassessment
Authors: Cooper Barry 
Published: November 2023

Abstract
Beethoven’s folksong settings are among the least explored and appreciated parts of his output. Part of the reason is their inconvenient setting for voice or voices and piano trio, which has no doubt discouraged some singers from taking them up. This problem is easily overcome now that it is clear that the settings can be performed satisfactorily without the string parts and also, if necessary, without the additional voices.
Collecting Handel
Authors: Coke Gerald 
Published: November 2023

Abstract
I STARTED my Handel Collection in the mid-193os. Its genesis was an interest both in fine books and music, and the idea that the two interests should be channelled into the formation of a collection of fine and first editions of music. After a false start collecting Mozart first editions, which turned out to be too expensive (and over-collected), the idea of a Handel collection was born. This dream could not have been translated into reality without the help of Percy Muir of Elkin Mathews whom I met through a mutual friend. Not only did he take immense trouble to learn about the subject—his firm had not previously done any business in this particular field—but he secured for me several indispensable guides, including a detailed list of the printed music in Newman Flower’s collection and a copy of Schoelcher’s catalogue of librettos.
The Malmesbury Collection
Authors: Dean Winton 
Published: November 2023

Abstract
THE Earl of Malmesbury’s Collection is by far the most important body of Handel manuscripts still in private hands, and the only one in the possession of the same family since the eighteenth century. Strictly speaking it should be called the Legh Collection, for the original owner, for whom the manuscripts were copied, was Elizabeth Legh of Adlington Hall in Cheshire, a friend and fanatical admirer of the composer, an accomplished harpsichordist and possibly an amateur singer as well. From about 1715 until her death in August 1734 at the age of 39 she evidently had a standing order with Handel’s copyists for everything he composed. She had each volume uniformly bound in leather with her arms stamped on the cover, and they remain today in their original condition.
The Shaw-Hellier Collection
Authors: Young Percy 
Published: November 2023

Abstract
AMONG those whose present reputation depends on their foresight in having collected works by Handel, Samuel Hellier (1736—84) stands out as an exceptional figure. His library of music, his collection of orchestral instruments, and the organs which he had Abraham Adcock to build, were all assembled and cared for as much in public as private interest. Hellier did not compose a formal essay explaining his philosophical views on the social value of the arts in society, but he did leave in documentary form evidence of a strong conviction that music was a necessary ingredient in the life of the community. The little world of which he was in this particular its cultural engine was the village of Wombourne, four miles from Wolverhampton, in Staffordshire, where his home was the house known since the Middle Ages as The Woodhouse. Here for two centuries was preserved his memorial, the Shaw-Hellier Collection of music and of instruments. The music is now preserved, on permanent loan, in the Music Library of the Barber Institute of Fine Arts in the University of Birmingham.
The Santini Collection
Authors: Marx Hans Joachim 
Published: November 2023

Abstract
SHORTLY after 1900 a young English musician travelled from Cambridge to Munster in Westphalia, in search of manuscripts containing works by Alessandro Scarlatti that were said to be in the local Diocesan Museum. His attention may have been drawn to Munster by a handwritten catalogue in the British Museum that had been compiled by Vincent Novello in 1843. This listed some of the manuscripts and printed music in the library of the Abbate Santini in Rome. The young musicologist—it was Edward Dent—found far more than he had imagined. In addition to the Scarlatti manuscripts he was looking for, the music collection of the Diocesan Museum contained innumerable manuscripts and a large amount of printed music from the sixteenth, seventeenth, and eighteenth centuries. These holdings had been ignored by scholars for decades, and had been quietly gathering dust. Dent was the first musicologist to draw attention to the importance of this Collection.
The Concertos
Authors: Careri Enrico 
Published: November 2023

Abstract
‘GEMINIANI with all his harmonica! abilities, was so circumscribed in his invention, that he was obliged to have recourse to all the arts of musical cookery, not to call it quackery, for materials to publish.’ The charge that Burney levels against the composer refers to his alleged lack of imagination, which caused him to recycle the same compositions several times over. Indeed, if we exclude all his numerous elaborations and transcriptions, the musical output of Geminiani seems rather exiguous: two sets of violin sonatas (Opp. I and N), one of cello sonatas (Op. V), three of Concerti grossi (Opp. II, ill, and VII), The Inchanted Forrest, and the compositions published in his treatises. Nevertheless, the same reproof could be addressed to Corelli and several other contemporary composers of note. Burney’s irritation probably stemmed from the disproportion between the success of Geminiani in England, where he had no rivals in the instrumental domain and was considered the equal of Handel, and the reason for this same success, which was almost entirely connected with his Op. ill concertos. His other compositions, with few exceptions, were rarely performed and little appreciated; in contrast, his Op. ill enjoyed an extraordinarily wide circulation, which even rivalled that of the celebrated works of Corelli. ‘Handel, Geminiani & Corelli’, Burney notes elsewhere, ‘were the sole Divinities of my Youth, but I was drawn off from their exclusive worship before I was 20, by keeping company with travelled & heterodox gentlemen, who were partial to the Music of more modem composers whom they had heard in Italy.’ The openmindedness of the young Burney was an exception in contemporary English musical circles, which in the years around the middle of the eighteenth century remained faithful to Corelli and Geminiani and showed little interest in what was going on beyond the English Channel.
The Sonatas
Authors: Careri Enrico 
Published: November 2023

Abstract
THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were transcribed almost in their entirety for harpsichord. The cello sonatas, Op. V (1746), were published simultaneously with their transcription for violin. The remaining sonatas, with few exceptions, are drawn from earlier compositions: the two sets of Pieces de Clavecin (1743, 1762) from Opp. I, II, IV, V, and VII, and the treatises for violin and cittem.
The Inchanted Forrest
Authors: Careri Enrico 
Published: November 2023

Abstract
THE Inchanted Forrest is the only composition by Francesco Geminiani of which both the autograph manuscript score and a series of documents concerning its first performance are extant. Unlike with the other works, however, it is difficult to establish with certainty the date of publication. According to Burney and Hawkins it was published in the years that followed his return from his last visit to Paris, around 1755–6, while on the title-page of the autograph score we read: ‘The Gift of Francesco Geminiani the Author to James Mathias/ 7 dee.er 1761/ La Selva Incantata del Tasso/ Composizione Istrumentale/ da F. G.’ Dates quoted by Burney and Hawkins with regard to Geminiani are rarely reliable, while the one marked on the manuscript may refer only to the year in which the composer presented it to James Mathias and therefore serve merely as a terminus .ad quern.
Reworkings and Transcriptions
Authors: Careri Enrico 
Published: November 2023

Abstract
The reheaters (rifriggitori) [writes Veracini] were so called because on every occasion when they had to produce new works they always ‘reheated’ the same works that they had heated up on other occasions; they started to do this while studying under their master (when they went to him in their youth for instruction), freely and frequently removing the good that was previously in them and inserting in its place new additions taken from the most popular music of others; they then proceeded to reheat this in the same way that they had done their own eternal stews. Then, going from country to country, with their Lenten sermons reheated (so to speak) two hundred thousand times, they peddle their merchandise, just like those who travel through different countries exhibiting the ‘New World’ or a ‘tabernacle’ and on such occasions sell jaspers [a kind of precious stone] to arrest nose-bleeds and a thousand other remedies for teeth, eyes, and ears.
The Vocal Music
Authors: Careri Enrico 
Published: November 2023

Abstract
A QUICK glance at the catalogue of Geminiani’s music suffices to show that the composer had little interest in vocal music. With the sole exception of L’incostanza delusa, performed in 1745, he had no links with opera or with any other kind of large-scale vocal music. As was observed earlier, only a more rapid worker than Geminiani could hope to cope with the demands of operatic composition. Nevertheless, a few short vocal compositions by Geminiani enjoyed a wide circulation, as the remarkable number of manuscript and printed copies of them preserved today attests. It is therefore necessary to give them a brief mention in this chapter.
Senesino and the Heroic—Anti-Heroic Male Role
Authors: Larue C Steven 
Published: November 2023

Abstract
In the ‘Instructions to Mr Hendel’ issued by Thomas Holles on 14 May 1719 on behalf of the nascent Royal Academy of Music, only one specific singer is named with specific terms: ‘That Mr Hendel engage Senezino as soon as possible to Serve the Said Company and for as many Years as may be.’1
J
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
JACOBUS. See BALL, Jacobus (James]. JAHN, Johann Friedrich (Frederikus) (b Cera, Saxony, 19 Mar. 1780-d St Gall, 28 Nov. 1866). Jahn was recognized from 1807 as a musician and instrument builder in St Gall. He obtained his Swiss citizenship in 1845. (Hirt/MEISTER, 477)
s
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
SAILER, J. [fl.1800-25). Piano maker in Munich. This maker is perhaps the same as Jakob Sailer {b Pest), a piano builder who was granted citizenship in Pest in 1819 and made from eight to ten pianos annually in his workshop there. Fontana gives no birth or death dates or addresses. It seems possible that he could have maintained a workshop in Munich, perhaps at a later date from his Budapest residence. {See Fontana/PEST, 178.)
V
Authors: Clinkscale Martha Novak 
Published: November 2023

Abstract
van CASTEEL. See CASTEEL, Henrique (Henri-VINSEN. See SCHOENE & Co. Joseph, or Henricus) van.
van der DOES. See DOES, Corneille Charles Ema nuel van der.
van der HOEF. See DOES, Corneille Ema nuel van der.
VAN OLST and Comp. [fl. c. 1800). Piano makers in London.
Instruments and Keyboard Idiom
Authors: Harrison Bernard 
Published: November 2023

Abstract
Haydn's keyboard music spans the period from the 1750s, when it is assumed he wrote his first solo keyboard works, to 1797, when he produced the keyboard version of the slow movement from the ‘Emperor’ String Quartet. Quite apart from changes in compositional style, this period saw many changes in the music profession, among which we may count the gradual acceptance, by composers, performers, and the musical public, of the fortepiano as the main keyboard instrument and the gradual displacement of the harpsichord and clavichord. Although it is now accepted that Cristofori had invented the gravicembalo col piano e forte by c. 1700 (possibly a few years before the advent of the eighteenth century) and had solved most of the mechanical problems of construction, the rise in popularity of the new instrument and the consequent, gradual decline in the use of the harpsichord occurred principally in the years 1760 to 1790. The transfer in allegiance from one instrument to another occurred at a different pace in various countries and even within a specific geographical region composers embraced the ‘new’ instrument at remarkably divergent dates. In Italy, notwithstanding the early example of Giustini's Sonate da cimbalo di piano, e forte detto volgarmente di martelletti, published in Florence in 1732, the fortepiano seems, paradoxically, to have become dominant at a relatively late date: for example, Galuppi's Passatempo al cembalo of 1785 is still perfectly compatible with performance on a harpsichord.
Appoggiaturas: Notation and Interpretation
Authors: Harrison Bernard 
Published: November 2023

Abstract
Writing in The New Grove, Robert Donington commented as follows on the duration of appoggiaturas in Classical music: In Haydn, Mozart and even Beethoven the rules of Quantz and C. P. E. Bach still apply in almost all respects, and the appoggiaturas shown by these composers must be interpreted almost entirely in the light of the Baroque conventions, rather than by their literal appearance. These rules, examined in some detail below, are usually formulated as a number of stereotyped conventions: namely, that an appoggiatura before a binary main note receives half the length of the main note, an appoggiatura before a dotted note receives two-thirds of the overall value, while appoggiaturas before main notes which are ‘tied’ or followed by a rest take the whole value of the main note, and the resolution (i.e. the main note), falls in the place of the second of the tied notes or on the rest. Such conventions feature in many modern prescriptions for the realization of appoggiaturas in Classical music, but their widespread application cannot withstand close scrutiny. Notational habits vary from one composer to another, and within the output of one composer important changes in orthography may also be identified; consequently the relevance of conventional interpretations must be assessed in the light of changing orthography. Two important general tendencies towards greater precision in the notation of appoggiaturas can be identified in the eighteenth century; these either necessitate a modification of the conventions used in determining the duration of appoggiaturas or completely dispense with these conventions.
Doppelschlag and Mordent
Authors: Harrison Bernard 
Published: November 2023

Abstract
The Doppelschlag placed over a note is relatively unproblematic as regards performance, the general opinion being that it is played on the beat as fast as possible. C. P. E. Bach gives three realizations appropriate for different tempos (see Ex. 8. I a) which illustrate his instruction that the Doppelschlag is ‘almost always performed rapidly’. Undoubtedly there is latitude for expressive rhythmic nuance, particularly in slow movements, but it is characteristic that part of the value of the main note should remain ‘unfilled’ except in the fastest tempos (Bach's presto realization) where this is impossible. While the performance of the ornament in this context is clear, there are in Haydn's keyboard music undoubted problems of recognition. Haydn's notation of the Doppelschlag is diverse and changes considerably in the course of his career.
Centering as a Psychological Resource for Achieving Joint Reference in Spontaneous Discourse
Authors: Brennan Susan E 
Published: November 2023

Abstract
A basic goal of communication is for two or more people to construct mental representations that are shared in some way, and the most common means for this is everyday conversation. In conversation a speaker makes many expressive choices, and these choices are not arbitrary. The speaker’s lexical, syntactic, and prosodic choices reflect, among other things, her mental model of the situation under discussion and her attentional focus over this model.
Interaction of Discourse Structure with Explicitness of Discourse Anaphoric Noun Phrases
Authors: Passonneau Rebecca J 
Published: November 2023

Abstract
Centering is a processing model that relates the local utterance-by utterance context, inference, and discourse anaphoric reference. As such, it potentially serves as a point of departure for a general theory of language use. However, its predictive force has been restricted to a small class of speech act constituents: unstressed or reduced forms of third-person defi nite pronouns. One question for extending centering is, how does local utterance processing relate to the global discourse context? Another open question is, how does centering interact with the global context in con straining the surface form of referring expressions other than pronouns? These are empirical questions. I present the results of two empirical stud ies directed at these larger questions.
The Place of Centering in a General Theory of Anaphora Resolution
Authors: Roberts Craige 
Published: November 2023

Abstract
Centering presupposes some type of locality between utterances, and of fers principles for characterizing the preferred patterns of pronoun use which anaphorically relate utterances that are local in that sense. This chapter argues that integrating the theory of the structures of discourse of Grosz and Sidner with a dynamic theory of semantic interpretation related to those of Heim and Kamp makes possible a more precise characteriza tion of the locality relevant for centering. and of the related notion of salience, than has heretofore been possible. while also capturing logical constraints on anaphora. The primitives of the resulting theory are dis course referents. not syntactic NPs, so that the focus is on information about discourse structure, not on syntactic structure or relations. Data involving definiteness and pronouns without linguistic antecedents are used to argue for the proposed integrated theory.
Poulenc, Le Danse, Et La Belle France
Authors: Mellers Wilfrid 
Published: November 2023

Abstract
The music of Poulenc’s first phase is remarkable for the candour with which it lives and breathes childhood, this being his legacy from Satie. Francis associated his childhood with Nogent-surMarne, where he spent so much time at his grandparents’ country house. Even so, Poulenc, unlike Satie, was a social being, who refashioned his art accordingly. During the 1930s and 1940s, his life-style changed, for he divided his time between his Paris apartment and his elegant and spacious country house, Le Grand Coteau, at Noizay in Touraine, where he enjoyed playing the country squire but resisted the attempts of the villagers to elect him mayor. His ideal life was poised between Paris and ‘une solitude coupee de visites d’amies’, his circle of friends being unusually eclectic.
The Better Land
Authors: Moore Jerrold Northrop 
Published: November 2023

Abstract
Music and biography share the expression of time remembered. For each finds its form through recapitulation. When Edward Elgar’s career had attained its peak, in 1912, his eldest sister Lucy set down what she alone survived to remember of its beginning. Before the beginning, she sketched a portrait of their father, William Henry Elgar, born in September 1821: My father was a native of Dover.