bluuebunny/crossref_metadata_2025_split huggingface dataset:
Cathedralism
Authors: Page Christopher 
Published: November 2023

Abstract
SINCE the Renaissance, the Western imagination has been inclined to picture the medieval period as a kind of odyssey: an exhilarating but enforced journey, taking mankind to a strange country and ending in the Renaissance with his homecoming and the restoration of his inheritance. Medievalists may deny that they see their period in these terms, and they invariably take professional pride in rejecting a view of the Middle Ages that seems so authoritative to the general mind and yet so erroneous to theirs. None the less, the concept of a medieval odyssey is easier to denounce than to displace.
The Origins of the Seventeenth-Century Staged Ballo
Authors: Fenlon Iain 
Published: November 2023

Abstract
The autumn of 1615 found Claudio Monteverdi at work on a new commission for his old masters, the Gonzaga. More precisely, a court official, Annibale Iberti, had recently been in touch with the composer through the Mantuan Resident in Venice, Camillo Sordi, with instructions that the composer should be commissioned to compose a hallo at the specific request of Ferdinando Gonzaga, who now found himself somewhat unexpectedly destined to become the sixth Duke of Mantua. The reasons for the commission are unknown, but it seems likely that it was intended for performance as part of the celebrations planned to mark Ferdinando’s official installation early in the new year.1 Yet beyond the fact of the commission itself, the Mantuans had given precious few details, unlike Ferdinando’s direct predecessor (and Monteverdi’s first employer at the court), Duke Vincenzo Gonzaga, who, as Monteverdi now put it (in his letter to Annibale lberti of 21 November 1615), ‘used to demand of me such productions either in six, eight or nine movements, besides which he used to give me some account of the invention, and I used to try to fit to it both the harmony and the metres that I knew to be most appropriate and similar’. Here, it seems, the composer was referring to the Ballo delle ingrate or to something similar, in which the choreography did not merely consist of a sequence of elaborate geometrical configurations, but operated within a narrative framework.
Málaga and García’s Return to Madrid, 1799–1804
Authors: Radomski James 
Published: November 2023

Abstract
Little information about the theatre in Málaga at the tum of the nineteenth century remains. Yet, García’s brief stay there marked a turning-point in his early career. In Málaga, he proved himself both as leading tenor and composer of significance. With the large Italian community in Málaga supporting the ever-popular opera, it is not entirely surprising that the environment there on the Mediterranean coast, far from away from the capital, was conducive to the formation of an opera star.
Last Years in Madrid, 1805–1807
Authors: Radomski James 
Published: November 2023

Abstract
The year 1805 was particularly important in García’s Spanish career, for it brought him one of his greatest theatrical successes-the premiere of his monologue opera, El poeta calculista. It was also the year in which Joaquina Briones bore him their first child, confirming the relationship that would last for the rest of his life.
Paris (1816–1817) and London (1818–1819)
Authors: Radomski James 
Published: November 2023

Abstract
On 16 October 1816, the Moniteur universel presented the following notice: ‘Tomorrow, for the return of M. García, first tenor, II matrimonio segreto.’ Six years of experience and triumphs in Italy had changed García’s status considerably. He was no longer the young novice, vulnerable to the discriminating taste of the Parisian public. Neither was he vulnerable to the competition of incumbent tenors; he was now ‘first tenor’–the position he would retain until the end of his life.
García as Teacher
Authors: Radomski James 
Published: November 2023

Abstract
The large number of successful García students, among whom were numbered some of the most famous singers of the day (his daughters Maria and Pauline, Adolphe Nourrit, Henriette Méric-Lalande) suffices to confirm him as one of the greatest teachers of all times. His contemporaries regarded him with reverence as the heir to the great Italian singing traditions of the seventeenth century which had since died. His own son, Manuel, continued the García school and has become, for the modem world, even more famous as a singing teacher than his father. It was the younger García who established the standard of the modern teacher, basing method upon scientific research of the larynx.
Introduction
Authors: Wegman Rob C 
Published: November 2023

Abstract
This book is a case-study in late fifteenth-century music history. Its underlying theme is part of a broader one, the transformation of the cyclic mass in the so-called Josquin period, roughly 1480-1520. In textbook terms this is the transition from ‘cantus firmus’ to ‘parody’ mass, yet the complex of changes was much broader, and affected a range of interconnected features: techniques of imitation, functional relationships between voices, the modal conception of counterpoint, relative ranges, mensural usage and theory, the matching of music and text, and, least tangible, that intersubjectively perceived quality which we call musical style. The transition, in short, amounted to a complete transformation of the received musical language.
Formative Years
Authors: Wegman Rob C 
Published: November 2023

Abstract
Jacob Obrecht had turned 15 by 1473. Legally this age marked his majority, but effectively he was to remain under the loose supervision of his legal guardian, Willem Obrecht, until he had shown himself competent to conduct his own affairs. This was also about the age when his voice would have broken, and hence the moment to leave the choristers’ foundation (wherever it was) where he must have received his musical training.
Gluck in London (1746)
Authors: Howard Patricia 
Published: November 2023

Abstract
When did Gluck come to London? There is no mention of him in the press until the announcements of the forthcoming La caduta de’ giganti in the General Advertiser of 4 January 1746. The commission to write this particular opera is unlikely to have been given before the second week of December 1745. The King’s Theatre was closed for most of 1745 ‘on account of the [Jacobite] rebellion, and popular prejudice against the performers, who, being foreigners, were chiefly Roman Catholics’.1
The Itinerant Musician (1746–1750)
Authors: Howard Patricia 
Published: November 2023

Abstract
For more than a year following his two London concerts in April 1746, Gluck again disappears from view. The pasticcio devised by Maccari for Venice in 1744 enjoyed a new lease of life: La finta schiava, containing at least two arias by Gluck, was performed by Angelo Mingotti’s travelling opera company in Graz during the Carnival season of 1746, in Prague later in the same spring, and in Leipzig on II May 1746, but we cannot assume that Gluck was present at any of these performances.1 He may have journeyed directly from London to Hamburg and there joined the company of Angelo’s brother Pietro Mingotti, whose troupe he could have encountered at the coronation of Francis I in Frankfurt the previous September.2
Armide (1777–1778)
Authors: Howard Patricia 
Published: November 2023

Abstract
Immediately upon his arrival in France, Gluck was admitted to the queen’s chamber, and throughout the time he remained there, she did not cease talking to him. One day, she asked him if he was near to finishing his tragic opera Armide, and if he was satisfied with it. Gluck answered her very coldly, in his German accent, ‘Madame, it will soon be finished, and it will be truly superb.’
Haydn’s Symphonic Forms
Authors: Haimo Ethan 
Published: November 2023

Abstract
Haydn never discussed his compositional ideas in much detail, either in the interviews he gave to an early biographer or in his surviving correspondence. Moreover, relatively few sketches of his compositions have been preserved. Therefore, attempts to reconstruct Haydn’s compositional thought, and in particular his formal logic, must rely on evidence drawn from close analyses of the works themselves. Using his symphonies as its subject, this book attempts to clarify what Haydn’s fundamental principles of formal logic might have been. It shows how Haydn employed those basic compositional principles to structure his forms, providing explanations that account for specific details of individual movements as well as the relationships between the movements. Beyond what they show about Haydn’s formal thought and the individual works discussed, the analyses in this book also have a larger purpose: to argue in support of the idea that compositions cannot be analysed in a meaningful manner if the analysis is divorced from the work’s historical context.
Handel’s Muse
Authors: Hurley David Ross 
Published: November 2023

Abstract
Handel's frequent and extensive alterations to his scores yield much valuable information on musical and extra-musical matters. This book represents the most thorough study to date of Handel's compositional procedures in his English oratorios and musical dramas. David Hurley examines six major works composed between 1743 and 1751 (Semele, Hercules, Belshazzar, Solomon, Susanna, and Jephtha), explores changes in the autograph scores, and, where possible, traces the progress of musical ideas from sketches and/or borrowings through drafts to the first performance version. By studying recurring types of revisions, Hurley identifies Handel's regular musical concerns while also addressing changes arising from specific dramatic situations. The later chapters of the book offer fresh insight into the relationship between music and text, evaluating for the first time the role of word painting in Handel's compositional process and furthering our knowledge about Handel's interactions with librettists and singers during the oratorio years.
The Ecclesiastical Settlement and the 1662 Book of Common Prayer
Authors: Wilson Ruth M 
Published: November 2023

Abstract
The reinstatement of the Church of England coincided with the return of the king in 1660. This singular dramatic episode did not, however, bring with it immediate consolidation of episcopal government and instantaneous restoration of traditional liturgical practice. Even so, the relatively rapid progress of these events belies the century of tumultuous religious change which preceded the abolition of the monarchy and the state church in the early 1640s. The sixteenth-century Reformation, Catholic reaction, and Elizabethan settlement were the prelude to a period of growth in the union of church and state during the early Stuart years.
Chants and Chanting in Parish Churches c.1710-1820
Authors: Wilson Ruth M 
Published: November 2023

Abstract
The musical performance of responses, prose psalms, and canticles in parishes was part of a wider reform movement in parish music. While the revitalization of congregational psalm-singing was its initial aim, the formation of choirs and the performance of more elaborate music soon followed. The new personal prosperity fostered by a thriving commercial economy in the eighteenth century contributed directly to the movement to improve the standard of church music, especially in London and outlying market towns. An important aid to reform in town churches was the installation of an organ, obtained through a subscription or donated by a parishioner of means, for whom an organ was an impressive and visible sign of wealth, and of a generous public conscience. The growth of charity schools was another important aspect of the changes in town church music. The children were taught to sing as part of their general education and eventually took their places in the choir for Sunday services. Special music was composed for the annual charity sermon at which the children sang to help raise funds for the school.
Per Retro et Recte
Authors: Wilson Ruth M 
Published: November 2023

Abstract
Within this broad outline, the history of Anglican chant and chanting takes shape, from its roots in the pre-Reformation Latin rite to the early nineteenth century. The essentially unbroken development of liturgical practice in the English liturgy of the Book of Common Prayer has continued under the aegis of the ‘one use’, which replaced the complex ritual of the pre-Reformation Latin Offices and Mass. The ‘one use’, however, did not establish uniformity in interpretation of the rubrics of the Common Prayer across the spectrum of institutions subsumed under the jurisdiction of the national church. The performance of the same liturgy varied historically from parish to cathedral to collegiate chapel and church, and from town to country and south to north.
Storm and stress (1853-60)
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms and Joachim learned of Schumann’s suicide attempt from a newspaper report. Appalled, they wrote to Dietrich for news: but without waiting for an answer, Brahms hurried to Düsseldorf on 3 March and announced to Clara Schumann that he was there to help her and her six children in any way he could. ‘She wept a great deal,’ he reported to Joachim, ‘but was very glad to see me’. His action was both practical and characteristic: whereas Joachim, Grimm, or Dietrich had their professional commitments, he was practically a free agent. He was also Romantic, quixotic, and aware of an especially deep personal obligation. For the next three years he was seldom far from Clara Schumann’s side.
Not quite a Viennese (1860-72)
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Shortly after the ‘Manifesto’ episode Brahms attended the Rhine Music Festival in Düsseldorf, taking three of the girls from the Frauenchor to sing vocal quartets with Clara Schumann. Proceeding afterwards to Bonn with Joachim for the baptism of Dietrich’s first child, he encountered the young Fritz Simrock, junior partner in the Bonn-Berlin music publishing firm of N. Simrock. As a direct result of this meeting Simrock published Brahms’s A major Serenade, the op. 17 partsongs, and the recently completed B flat major Sextet.
The music of the middle years, 1860-75
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms’s music does not easily group itself into ‘periods’. The lineaments of his style were foreshadowed in the first years of his compositional activity, and were not subject to abrupt change. Even his earliest music has such strength of character and technical command that it is difficult to speak of immaturity giving way to maturity. There is, certainly, a gradual development by which ever more thorough mastery of the essentials of his craft led to an ever closer match of means and manner with expression; to a deepening profundity; and to the ability to say more and more with fewer and fewer notes. But this was by no means as easy for Brahms as it now looks to us, and it was achieved only by unremitting hard work.
‘Frei aber froh’
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms had not long returned from Hamburg before he was offered the post, in succession to Anton Rubinstein, of artistic adviser and conductor to the Gesell schaft der Musikfreunde, with the promise of a large salary and a completely free hand in programming. After his customary period of hesitation he accepted, taking up the duties in the autumn of 1872. It was the last, and most prestigious, of the few official positions he held during his career. He now had access to the finest choir in Vienna, 300 strong, and a full symphony orchestra of a higher professional standard than had been available to the Singakademie.
1809–24
Authors: Radcliffe Philip 
Published: November 2023

Abstract
If the life of Mendelssohn is set beside those of most great composers, its most striking feature is its comparative ease and luxuriousness. Inevitably this has affected estimates of him both as a man and as a composer, but not always in the same direction. For many years the fact that he was not one of those wild, difficult bohemians, but a pleasant-mannered, cultured gentleman, undoubtedly endeared him to a very large section of society, especially in England. Handel had been a great public figure, but. of a formidably volcanic disposition, with few intimate friends; Mendelssohn they could regard more as one of themselves, and they could find in his music a reflection of his personal charm and geniality. From this attitude of instinctive, uncritical affection there was bound to be a reaction his charm was thought to be a symptom of superficiality and his cultured and luxurious environment to have led merely to sluggishness and complacence.
1834–7
Authors: Radcliffe Philip 
Published: November 2023

Abstract
Felix went to Diisseldorf determined to raise the standard in both ecclesiastical and theatrical music, but, as so often happens to reformers, he soon found more difficulties than he had expected. He first turned his attention to the church music, deciding that ‘no appropriate epithet exists for the music which has hitherto been given here’. He introduced works by Palestrina, Leo, Lassus and others. This was not particularly well received by the citizens of Diisseldorf, but worse was to follow. At the theatre he announced a series of ‘classical’ performances, beginning with Don Giovanni; this involved a raising of the prices, and there were disturbances on the first night. Felix insisted on a public apology, which was eventually made, and for a time things ran smoothly.
Personality and influence
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The epoch for expansion and extended analysis has passed away: the novelties of knotty points and subtle analogies are undesired: we want strong emotion, but it must be concentrated; it must smite, sudden as the electric fluid, it must draw blood. And this is Mendelssohn. That Mendelssohn possessed a natural vein of such rich, flowing melody as Mozart and Beethoven commanded, cannot be claimed for him. Yet as a melodist he has been misunderstood and undervalued in no common degree—the fate, by the way, of every composer who is more than a mere melodist. Those who have passed hasty judgment-on him as ‘dry’ have done so rather on the strength of some one work that does not suit their humour than on the bulk of his writings.
Lisztomania (1839-47)
Authors: Watson Derek 
Published: November 2023

Abstract
Liszt’s Glanzperiode, when the term ‘Lisztomania’ was coined by Heine, conjures up images of him that have remained most to the fore in popular imagination. A dazzling wizard, a showman and superman of the keyboard who thrilled audiences in musical capitals and far flung regions of Europe and whose works matched the glitter and even the vulgarity of that era of hysterical adulation.
Weimar (1848-61)
Authors: Watson Derek 
Published: November 2023

Abstract
Carolyne lwanowska was born in 1819 at Monasterzyska in the Ukraine, the only child of an immensely rich Polish couple. From the start her life was eccentric. Her mother preferred to live abroad and her father gave her free rein to keep her own hours, to eat when she liked, to ride her horses over the wild plains. She acquired an early addiction to cigars, a voracious appetite for reading and a deep (Roman Catholic) religiosity which in later years bordered on mania. In 1836 she wed Prince Nicholas von Sayn Wittgenstein (1812--64), an army officer of modest means and a member of a Russian branch of a Westphalian family of that name. Nicholas and Carolyne produced one child, Marie Pauline Antoinette (1837-1920), and they separated a few years after their marriage. The princess then led an isolated, unorthodox life on the estates she had inherited and was twenty-eight when she first met Liszt.
L’Abbe Liszt (1861-8)
Authors: Watson Derek 
Published: November 2023

Abstract
Weimar, for all its exertions, was a conscious withdrawal from the world, so that the world would come to Weimar. Rome was a further withdrawal as Liszt played little part in public musical life (outside the Church), even discouraged performances of his works, and regarded his stay in the city as the third part, and probably the close, of his life. Prior to settling into this voluntary but by no means idle retirement, he went to Paris and enjoyed a whirl of brilliant society, calling on old friends and viewing his visit as a sort of St Martin’s summer. Returning to Weimar, a final festival was held at which most of his comrades-in-art gathered and much of his music was heard. These events had a valedictory air, as if he was consciously and forever renouncing the scenes of his triumphs of youth and middle age.
Une vie trifurquee (1869-86)
Authors: Watson Derek 
Published: November 2023

Abstract
Twilight, an ambiguous word, might be the heading of this chapter as the last phase of Liszt’s career was both a dusk and a dawn. The image of twilight suggests transition, and in the works of the late years there are many glimmerings of hitherto unexplored paths in music. He did not found a new ‘school’ with this music but many twentieth-century techniques and styles can be found prefigured in his music after 1870. His search for new images of musical expression was lifelong, but a peculiarly intermediate, transitional character hangs over his last period. Some of these twilight creations remained in shadowy obscurity until the second half of the present century.
Original piano music
Authors: Watson Derek 
Published: November 2023

Abstract
Three works published in Paris in 1824-5 were principally designed to show Liszt’s grasp of keyboard technique: Allegro di bravura (of which he sketched an orchestral arrangement), Rondo di bravura and Huit Variations. They are otherwise of no great value except for signs that show the young composer’s already wideranging sense of tonality and harmonic adventure. The Allegro, which has an improvisatory quality, is particularly restless in key: its 37-bar slow introduction encompasses E flat minor, G flat major, D flat minor, D major, D minor and again E flat minor, before reaching E flat major, the home key of the work. And in the Rondo some harmonic touches are quite untamed.
Selective Repertoire
Authors: Ferguson Howard 
Published: November 2023

Abstract
‘Hornpipe’ (one of three untitled pieces written by ‘John Alcestur’ on blank pages of the Evesham Abbey Bible (The Byble, trans. by Thomas Matthew, Antwerp 1539; Almonry Museum, Evesham). Alcester was sac ristan of the Abbey before its dissolution in January 1540.
Sounding Icons
Authors: Hillier Paul 
Published: November 2023

Abstract
All music emerges from silence, to which sooner or later it must return. At its simplest we may conceive of music as the relationship between sounds and the silence that surrounds them. Yet silence is an imaginary state in which all sounds are absent, akin perhaps to the infinity of time and space that surrounds us. We cannot ever hear utter silence, nor can we fully imagine such concepts as infinity and eternity. When we create music, we express life. But the source of music is silence, which is the ground of our musical being, the fundamental note of life. How we live depends on our relationship with death; how we make music depends on our relationship with silence.
Serialism/Collage
Authors: Hillier Paul 
Published: November 2023

Abstract
Throughout the 1960s, from Nekrolog to Credo, Pұrt followed a distinctly personal path through the twists and turns of what we have now learned to call ‘modernism’. Inevitably this period in his life has been discounted as ‘the other’, as the obverse of what he has since become famous for. Our view of this music, which has been lumped together as that of his ‘serial period’, has been distorted by somewhat superficial observation by writers hastening on to the richer pastures of the tintinnabuli music itself. Perhaps they should not be blamed for doing this; to a certain degree they have been encouraged by Part’s own disavowal of the earlier style (not, however, of the actual pieces), to which must be added the foreshortening perspective of hindsight, reinforced by the clearly demarcated zones of tonal and serial languages.