bluuebunny/crossref_metadata_2025_split huggingface dataset:
Chansons for Five and Six Voices
Authors: Bernstein Lawrence F 
Published: November 2023

Abstract
Chan Sons for five or six voices would seem to represent a significant proportion of the secular music attributed to Josquin. Some twenty chansons a 5 and fourteen a 6 are ascribed to the Prince of Musicians in at least one sixteenth-century source (see Table 13.1). As is true of numerous Josquin motets, however, a great many of these chansons appear only in posthumous sources. Indeed, only six of these multi-voice chansons are pre served in sources that were compiled during Josquin’s lifetime-three a 5 and three for six voices.
Portrait of Elgar
Authors: Kennedy Michael 
Published: November 2023

Abstract
The public image of Elgar as patriotic country squire was established in his lifetime, but, in reality, it concealed a highly complex, sometimes baffling, private individual. Although acquaintances found him a man of endless curiosity and good humour, his family and close friends knew him to be rather different: a prey to despair, neurotically mistrustful both of himself and of those who loved him and so damaged by the condescension and neglect of his early years that emotionally he never recovered. This is a reissue of the third edition of Michael Kenedy's portrait of this complexman — not an analytical survey of the music but a faithful likeness of the composer, recognizable, but at the same time a thoroughly individual interpretation of the subject.
Nobilmente
Authors: Kennedy Michael 
Published: November 2023

Abstract
Elgar’s music is inextricably associated with the Edwardian era, a period which has attained a mythical aura. From a distance of over half a century it appears as a golden age—a glittering social scene; Covent Garden at its most opulent; literature and the theatre adorned by Hardy, Wells, Kipling, Bennett, Pinero, Beerbohm Tree, Shaw, and Barrie; the cricket field peopled by giants; the political world of Asquith, Balfour, the young Churchill, and Lloyd George; the zenith of the country-house party. Yet there was another side—poverty, unemployment, violent industrial strikes, the threat of war, the spread of subversive and revolutionary doctrines in politics and religion, the agitation of the suffragettes. Much like any other age, indeed, as we are reminded by Jaeger’s words in his analysis of The Apostles when he referred in 1903 to the music’s message of beauty and peace ‘in these days of unprecedented stress and complexity.’ Our age’s superficial nostalgia for the imagined Eden of Edward VII’s reign has become attached to Elgar’s music. But the nostalgia Elgar expresses is not our nostalgia. He wanted to escape from his present as much as we do from ours; it is the perennial desire of the Romantic artist. Elgar in the late 1890s and early 1900s is a parallel case to the Pre-Raphaelites of a generation earlier. Just as they escaped from the harshness of the real world into a mock-mediaeval earthly paradise, so he fled to the historical past of Caractacus, the literary past of Falstaff, the chivalry of Froissart. Later, as will be seen, the world of his childhood, the wand of youth, beckoned irresistibly. There is a distinction to be made between what we recognise in Elgar’s music as representative of the spirit of his time and his own unconscious reflection of its precarious hollow features so that now, like contemporaneous works by Mahler and Strauss, it seems to foretell its own impending Gotterdammerung. The greatness of his music sprang from the unceasing tension between, at one level, his need for solitude and his desire for recognition, and, at another, his Catholic need to hope and to believe and his personal tendency to despair. Gradually, his faith crumbled, his hope dwindled, and he saw that the reality of life and of human behaviour conflicted totally with what he had been led to believe.
The Piano Quartet and Quintet
Authors: Smallman Basil 
Published: November 2023

Abstract
Designed as a companion volume to the author's earlier study, The Piano Trio, this book surveys the development of the piano quarlet and quintet from their relatively modest beginnings in the mid-eighteenth century to the present day. Developments during the first four decades of the nineteenth century resulted not only in Schubert's renowned `Trout' Quintet, but also in works of much brilliance by Dussek, Hummel, Weber, and others in which the piano predominates in a concerto-like role. Subsequently, Schumann's epoch-making quintet of 1842 initiated a broadly `symphonic' style, with large-scale structures and closely integrated textures, which was taken up by many later composers, including Brahms, Dvor'ak, César Frank, Fauré, and Elgar. The author also examines the numberous changes in the nature of the genres which have occurred in recent times, and gives special consideration to a number of works by leading 20th-century composers, in which `mixed' media are formed by combining wind instruments with the normal strings-and-piano ensembles. Within his broad historical narrative Professor Smallman provides descriptive analyses of key works, many with music examples, and also comments perceptively on local trends and developments. His book is likely to be of interest to all those who are fascinated by this important repertoire - performers, students, and listeners, as well as the general reader.
Introduction
Authors: Gillies Malcolm , Pear David 
Published: November 2023

Abstract
Although despising the very language in which these lines were written, the pianist-composer Percy Grainger would certainly have sympathized with their sentiment— ‘Even while we talk Time, hateful, runs a mile. I Don’t trust tomorrow’s bough for fruit. Pluck this, here, now.’ Grainger is one of the twentieth century’s outstanding carpe diem figures. His frenzied life, kick-started by a domineering mother and maintained by her memory, shows the ‘pluck this, here, now’ mentality carried to an extreme of long-term career sacrifice and possibly even fragmentation of personality. For sixty years Grainger lived the ‘slave-life’ of professional pianism, performing in over three thousand concerts, fearing to trust the allures of tomorrow for fear that today’s failure might make him yester day’s man. Although he would often grumble about how ‘the treadmill of earning one’s living’ was ‘so unremitting’,2 he clung tenaciously to concert life and only stopped performing in public when senility finally forced him out, at the age of 77 after many ‘retirements’.
An Introduction to Brahms and his Early Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
Unlike the observer of the centenary of Brahms’s birth in 1933, the witness of the sesquicentenary year of 1983 might well have been familiar with different views of the composer’s significance. The first - long-established and still the most familiar in the English-speaking world - portrays him as the great classic figure of nineteenth-century German music, a retrospective master of traditional forms in a period when they seemed increasingly outmoded by new aesthetic attitudes: a figure of the past. Thus Gerald Abraham summed him up as follows just before the Second World War: ‘So ... great a figure as he is, Brahms contributed little to the historical development of music [and he] stands practically alone. [Those] who came under his influence all seem to have, been nonentities. Only the young Reger and the Hungarian Dohnanyi really owe much to him.’
Orchestral Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
The status of the Piano Quartet in C minor in spanning an entire era and symbolising Brahms’s struggle for mastery of the formal treatment of powerfully expressive ideas finds a striking parallel in the history, key and moods of the First Symphony. Although we cannot be sure that its earliest part, the first Allegro, was conceived at the same time as the Quartet - the familiar ‘1855’ derives from Kalbeck’s view only1 - the overtly Beethovenian spirit does not contradict a possible date in the 1850s: and the final resolution likewise took until the 1870s. Further, it was not Brahms’s first attempt in the genre.
Songs and Piano Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
With the completion of the First Symphony, Brahms had established himself without question as the leading composer not only of choral, but also of instrumental, music in Germany and was increasingly regarded as the symbolic figure of the opposition to the aesthetic outlook of the New Germans. For not only had he demonstrated remarkable command of the forms of keyboard, chamber and orchestral composition but he had done so through a scope of historical absorption and synthesis with few parallels, drawing from it very individual modes of working capable of application to many different contexts. One major consequence of this richness was the complexity of his textures.
Chamber Music
Authors: Musgrave Michael 
Published: November 2023

Abstract
The balance between the quality and output of chamber and orchestral music achieved enables very clear, common, phases of work to be discerned, phases which show a marked extension of the composer’s expressive range. With the completion of the First Symphony, a very marked lyric phase is to be discerned whose main representations are the Second Symphony, the Violin Concerto and the G major Violin Sonata. Although this lyricism remains throughout the period as a deep spring of expressive significance, from 1880 there is a move toward a more heroic, and serious style, involving a new openness, a new almost symbolic kind of main idea. This is naturally most immediately apparent in the orchestral sphere.
Prologue
Authors: Samson Jim 
Published: November 2023

Abstract
Books on Chopin proliferate. There is even a book about the books. Yet surprisingly few of them examine his music in any but a loosely descriptive, impressionistic fashion. Biography has proved more alluring. From the Liszt book of 1852 onwards the flood of biographies has continued to swell and it shows little sign of abating. In English alone there have been five books since 1976.2 Quality is another matter. I seriously doubt whether an adequate biography can be rendered by anyone whose understanding of the music is casual. If there is a single overwhelming defect of recent English biographies it is their exiguous and shallow treatment of creative process, which is after all central to the ‘life’ of any composer. In this and in other respects they fall short of the high standards set by Gastone Belotti in his three-volume study in Italian and by Jozef Chominski in his concise but penetrating book in German.3 Perhaps translations are the answer.
Sources, Controversies, and Speculations: The Early and Modern History of Monteverdi’s Vespers
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The two seventeenth-century sources for Monteverdi’s Vespers are discussed and compared in the critical notes to my Oxford University Press edition of the Vespers. The primary source, the only one containing all of the music, is the original 16 IO print by Ricciardo Amadino, complete and partial copies of which are located in a number of European libraries.
A Brief History of Vespers in the Sixteenth Century
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The early history of polyphonic music for vespers reaches back before 1430, to the time of Dunstable, Dufay, and Binchois. The surviving vesper music of the entire fifteenth century has been studied in a dissertation by Masakata Kanazawa,1 but need not detain us here. Suffice it to summarize Kanazawa’s findings very briefly in noting that by the middle of the fifteenth century, some of the best-known manuscripts, scattered now throughout Europe and England, included a sizeable repertoire of Magnificat and hymn settings, as well as a few antiphons and the very first, rare settings of psalm texts, almost always the fifth psalm for Sunday vespers, In exitu Israel. Thus, considerable quantities of polyphonic settings of items for the liturgy of vespers began to appear in the generation of Dunstable and during the early part of the careers of Dufay and Binchois, with all three of these composers, but especially Dufay, contributing significantly to the repertoire.2 Manuscripts from the third quarter of the century testify to the increasing emphasis placed on vesper music not only by Dufay and Binchois, but also by numerous anonymous composers of their generation. Dunstable, too, continues to be represented posthumously in several of these manuscripts. During this period we still find a concentration on hymns, Magnificats, and, to a lesser extent, antiphons. Psalm settings remain rare.
Compositions Based on a Cantus Firmus: The Hymn and the Sonata sopra Sancta Maria
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The treatment of the cantus firmus in the hymn Ave maris stella is quite different from its use in the psalms and the Magnificats. In the hymn, the plainchant always appears in the topmost part as the principal melody, harmonized in an essentially chordal fashion. This manner of setting the Ave maris stella melody can be traced all the way back to Dunstable’s alternatim version, which adds a modest degree of ornamentation to the plainchant. Monteverdi, however, adheres strictly to the notes of the chant itself, which is a first-mode melody evidently derived not from the Roman rite, but from the liturgy of Santa Barbara in Mantua, prepared specifically for the Gonzaga ducal church in the late sixteenth century.
Compositions not Based on a Cantus Firmus: Pulchra es, Duo Seraphim, Audi coelum
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The three remaining motets from Monteverdi’s 1610 print, Pulchra es, Duo Seraphim, and Audi coelum, exhibit many of the same methods of construction uncovered in Nigra sum in the last chapter. Therefore, my discussion of these pieces will be more limited, confined to salient points unique to each motet, and the interested reader may explore these compositions further in terms of their modal implications, octave species, and reciting notes.
Voices and Choirs
Authors: Kurtzman Jeffrey 
Published: November 2023

Abstract
The most important feature distinguishing church choirs of the sixteenth and seventeenth centuries from modern choirs was, of course, the exclusive use of male singers, resulting in altogether different sonorities from those of the modern mixed choir.1 Soprano parts were sometimes sung by boys, at times by adult males singing falsetto, and at times by castrati. Alto parts were sung by adult falsettos or castrati; boys may also have sung alto parts on occasion, although documentary evidence is lacking. The sonority and balance of the choir was therefore affected by whether boys, falsettos, or castrati sang the upper parts.
Six de la Mare Songs (Nos. 1-4 and 6, 1966-71; no. 5, 1985) Elaine Hugh-Jones (horn 1927) Text by Walter de la Mare
Authors: Manning Jane 
Published: November 2023

Abstract
It is a rare and special pleasure to discover a major songwriter, and I am much indebted to my colleague John Potter for introducing me to the work of Elaine Hugh-Jones. Her songs show complete mastery and understanding of voice and piano writing. Although they are firmly based on a traditional musical style - that of English post-Romantic - the songs are not in the least derivative. The composer shows a wonderful assurance and freshness of approach and an exceptionally sensitive response to words.
Letters found near a Suicide (1954) Earl Kim (horn 1920) Text by Frank Horne
Authors: Manning Jane 
Published: November 2023

Abstract
The wonderful directness of expression of this Korean (now US) composer is abundantly illustrated in this extended scena. Kim sets three poems in a continuous span, so the work is properly a song cycle (in the same sense as Beethoven’s An die ferne Geliebte). Clearly the composer has an intimate understanding and a love of the voice, as is demonstrated by the comfortable lie of the lines throughout the tremendously wide range of dramatic colours.
First Dream of Honeysuckle Petals Falling Alone (1978) Ronald Caltabiano (born I 9 59) Translated from the Japanese by Peter Beilenson (nos. 1, 3 and 4) and William Howard (no. 2)
Authors: Manning Jane 
Published: November 2023

Abstract
The musical texture of this short cycle by a gifted young American composer is rather fuller than is often found in settings of Japanese poems. The vivid piano writing is most exciting and the abundant melismas in the voice part make it rewarding for the singer in exactly the same way as the belcanto writing of the past. Despite being brief, each song is eventful.
Songs of Summer (1954) Iain Hamilton (born 1922)
Authors: Manning Jane 
Published: November 2023

Abstract
The music of Iain Hamilton’s charming song cycle is eminently practicable and direct in its appeal. Written in a nee-classical idiom, the lines ring out brightly and with exuberance. The large number of high passages would suggest that, at least initially, a tenor might sing the pieces with more ease than a soprano.
Mirabai Songs (1982) John Harbison (horn I 938) Translation by Robert Bly
Authors: Manning Jane 
Published: November 2023

Abstract
It is a real pleasure to find a substantial song cycle by one of the leading American composers of the middle generation; Harbison’s music is heard less frequently in the United Kingdom than he deserves. This work has also been scored for instrumental ensemble because, as the composer states somewhat ruefully in the introduction, the voice and piano duo seems to be on the decline.
A Vision of Time and Eternity Op. 6I (I972) William Mathias (1934--92) Text by Henry Vaughan
Authors: Manning Jane 
Published: November 2023

Abstract
This skilful and attractive work is written in a continuous span but it contains many contrasting sections and can either be considered as a cycle or a short cantata. The voice is used in the most imaginative and colourful way and the singer’s tone must be light and flexible enough to move speedily.
Three Greek Epigrams (I937) Priaulx Rainier (1903-86) Translation by Richard Aldington from Anyte ofTegea
Authors: Manning Jane 
Published: November 2023

Abstract
These songs are typical of the originality and subtle craftsmanship of this most distinguished composer. Despite their brevity they are quite demanding technically, and the vocal lines need great control to sustain their intensity. Completely contrasting vocal styles are required for each song: the first flows smoothly with supple rhythms, the second involves florid coloratura and the last is an extrovert outburst of some strenuousness. So much detail and feeling are poured into each song that the cycle makes a substantial impression; in no sense could it be described as a set of miniatures.
On the Beach at Fontana (I929) Roger Sessions (I896-I985) Text by James Joyce
Authors: Manning Jane 
Published: November 2023

Abstract
This splendid song was originally part of the special collection written as a tribute to James Joyce, called The Joyce Book, which existed only in a limited edition. It is fortunate that the song is now available to a wider public. Sessions was one of the most cosmopolitan and influen tial of senior American composers, and he is sadly missed. It is perhaps surprising that this is his only song for solo voice and piano.
Graves Songs Set II op. 22 (I977-82) Hugh Wood (born I932) Text by Robert Graves
Authors: Manning Jane 
Published: November 2023

Abstract
Wood’s five short songs make a stirring impact in their response to the passionate and extremely moving poems. The set seems to represent the composer in his most romantic vein. Always an excellent vocal stylist, here he finds an even more lyrical expression than in earlier works for voice and piano. The texts are comfortably set to enhance vocal tone and colour and to allow uninhibited interpretation.
Love,s Philosophy op. 19 (1968-73) Paavo Heininen (born 1938)
Authors: Manning Jane 
Published: November 2023

Abstract
Love’s Philosophy, a short cycle of three extremely well-known poems, is a splendid example of this leading Finnish composer’s work. His care for detail is always most conspicuous; the smooth and lyrical lines show his great sensitivity to the sound of the voice. The numerous phrases that focus on the top of the stave indicate that a tenor would be slightly more comfortable than a soprano. The musical idiom is well disciplined and highly chromatic; the intonation may require much attention. Rhythms are straightforward and there is scope for supple shaping of vocal phrases. The piano writing is full of character and exciting rhythmic details. The accompaniment is more intricate than the voice parts, allowing the singer to devote care to tone quality.
Early Papal Motets
Authors: Bent Margaret 
Published: November 2023

Abstract
The fourteenth and fifteenth centuries were perhaps the most protracted period of instability the papacy has ever suffered. For much of the four teenth century the papal residence was not in Rome but at Avignon. During the Great Schism from 1378 there were two popes, one in Avignon and one in Rome. Instead of ending the Schism, the election of a third pope at Pisa in 1409 ushered in a period of threefold division, since neither of the other popes was prepared to resign; but at least,briefly it gave occasion for celebration and optimism. This threefold Schism lasted until the election of Martin Vin 1417 at the Council of Constance.
Music for the Papal Chapel in the Early Fifteenth Century
Authors: Planchart Alejandro Enrique 
Published: November 2023

Abstract
A common view of the papal choir in the late Middle Ages and the early Renaissance is that it represented, as did for example the chapel of the dukes of Burgundy, one of the most important centres of musical com position of its time, an institution that was dominated by composers and out of which came an important repertory of works. Such a view is misleading and applies, if it applies at all, to a narrow period covering the few decades that go from the end of the fifteenth century to the middle of the sixteenth.
A Curious Incident in the Institutional History of the Papal Choir
Authors: Sherr Richard 
Published: November 2023

Abstract
The papal singers occupied a somewhat unique position among choirs of the sixteenth century in that they were organized as a college; that is, even though they were technically the pope’s private singers and merely one group within the capella papalis under the jurisdiction of the papally appointed maestro di cappella (until 1586 a high cleric, usually a bishop, who was not a musician),2 they had a particular corporate structure, headed by a dean, internal rules and procedures codified in documents but also sanctioned by custom, and a collection of papal privileges granted to them as a group.
Introduction
Authors: Woodfield Ian 
Published: November 2023

Abstract
After the granting of its charter in 1600, the East India Company sent out ships to India every year with a view to establishing regular commerce. Music played a prominent part in these early missions, with consorts of musicians acting as diplomatic ‘extras’ to ambassadors, and lavish keyboard instruments being transported to India as presentation gifts to Mughal rulers. Having been granted the right to trade, the Company set up its first permanent settlement in the flourishing port of Surat, and this was followed by the opening of many small stations, to manage the so-called ‘country’ trade. It was difficult to sell European products in India (other than luxury goods to the European community there), and it was only through engaging in local trade that the Company was able to finance shipments back to Europe. In the latter part of the seventeenth century, the larger stations or ‘factories’ as they were widely known began to develop a musical life almost multi-cultural in character, which made prominent use of Indian dancers and musicians. On public occasions, such as the annual parade to mark the birthday of the sovereign, it was the practice to hire a full ‘naubat’. Only in the mid-eighteenth century did London officials begin to quibble over the cost of the elephants.