bluuebunny/crossref_metadata_2025_split huggingface dataset:
Between Orfeo and Alceste (1762–1766)
Authors: Howard Patricia 
Published: November 2023

Abstract
Durazzo’s claim, in his position for a pension for Gluck,1 that the composer ‘is sought after by every Italian town’ receives some support from the commission, in the summer of 1762, for Gluck’s next opera, Il trionfo di Clelia. Documents of a very different kind from Khevenhüller’s and Zinzendorf ‘s diaries and the Viennese and Parisian journal articles illuminate the genesis of this work. An exchange of letters between Count Luigi Bevilacqua, in charge of the theatre in Bologna, and his agent in Vienna, Abate Lodovico Preti, show Gluck’s negotiating skills.
From Cythère to Alceste (1775–1776)
Authors: Howard Patricia 
Published: November 2023

Abstract
Gluck responded to the rumours of Berton’s inadequate preparation of Cythère in a long letter to Du Roullet, who was working on the translation and adaptation of Alceste, and also preparing a libretto on the subject of Iphigenie en Tauride, later finished by Guillard.1 Gluck’s letter, besides affording a window onto his working relationship with his librettist, also conveys the stress of composition, mentioned increasingly frequently from this point onwards.
Death (1787)
Authors: Howard Patricia 
Published: November 2023

Abstract
On the fourteenth of November, Gluck entertained two friends, recently arrived from Paris, in his house in the Wieden. On his doctor’s advice, Gluck regularly went out in his carriage after dining, to enjoy the benefit of fresh air and moderate exercise. After the meal, coffee and liqueurs were served, and after dispensing drinks to the two guests, Gluck’s wife left to order the carriage. In her absence, one of the guests refused his proffered drink. Gluck, who had always been fond of wine, but who was now strictly forbidden alcohol on account of its inflammatory effect, urged his friend to empty the glass, and when the latter excused himself, he feigned anger at the refusal, gulped down the drink, and quickly wiped his mouth, asking his guests, with a jest, not to betray him to his wife. She returned.
Analytical and Historical Contexts
Authors: Haimo Ethan 
Published: November 2023

Abstract
Each of the preceding nine chapters has consisted of an analysis of a single symphony by Joseph Haydn. Perhaps each of these analyses is illuminating in its own right, even if taken in isolation. However, in presenting analyses of all of the movements (and the multimovemental organization) of nine chronologically ordered symphonies by a single composer, the implicit assumption has been that there is something essential to be gained by studying these compositions in their entirety, as a group, and in chronological order.
OLD POLISH MUSIC
Authors: Thomas Adrian 
Published: November 2023

Abstract
IN parallel with the self-questioning that followed Scontri, there was another period of reflection after Refrain. Partly because of Gorecki’s ill health no works appeared for almost two years; when one did, it initiated a series of four exploratory chamber works, fulfilling much the same function in the late 1960s as the Genesis cycle had in the first half of the decade. The title Muzyczka (La Musiquette, or Little Music) is somewhat ironically non-committal, because all four works in the series are, according to the composer, about character (where Genesis, according to the composer, was concerned primarily with technical matters) and have a temperament that is anything but puny.
SACRED SONGS
Authors: Thomas Adrian 
Published: November 2023

Abstract
THE 1960s were years of maturation for many Polish composers, as their individual styles and outlooks crystallized. Lutostawski and Penderecki were seen abroad as the symbols of the Polish avant-garde, of the so-called ‘Polish school’. This tag held a grain of truth, but like most labels it undervalued diversity in trying to quantify a new phe¬nomenon: the emergence of vital new music from an unexpected source. The Poles were challenging the domination of composers of other nationalities, many of whom were perceived in the West as holding the key to the future of music. As unexpected newcomers, Polish composers had played briefly in the late 1950s and early 1960s with new idioms and technical ploys from the West before discarding or dismantling them as they sought their own path.
Writing the Score
Authors: Hurley David Ross 
Published: November 2023

Abstract
Investigation of Handel’s compositional process involves consulting a number of sources. The most important of these include Handel’s composing scores in the British Library and the sketches and fragments in the Fitzwilliam, Cambridge. Useful in determining the first performance version of a work—and sometimes interesting from the standpoint of compositional process—are the ‘conducting scores’ provided by Handel’s copyists, which now reside in the Staats- und Universitätsbibliothek in Hamburg.
Handel as Harmonious Blacksmith: Changes in Tonal Structure
Authors: Hurley David Ross 
Published: November 2023

Abstract
The composing scores of Handel’s oratorios include a multitude of revisions involving harmonic structure. This chapter will examine certain recurring types of revisions made possible by techniques of harmonic construction that typify Baroque composition. Such revisions demonstrate that, ironically, Handel often changed harmonic structure in order to alter musical realms other than harmony, including such elements of inner form as phrase structure and sectional proportions, as well as text-setting and dramatic impact. Accordingly, the first category of revisions examined comprises large-scale changes of cadential goals; such changes, made for various reasons, influence a wide variety of musical parameters. The second part of the chapter explores adjustments of harmonic balance and formal proportion, while the third examines the creation of new harmonic areas within movements.
Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata
Authors: Meconi Honey 
Published: November 2023

Abstract
Fortuna Desperata was the most popular Italian song of the fifteenth century and one of the most frequently used of all polyphonic models of the Renaissance, inspiring more than forty derivative settings over a period of almost seventy-five years by masters such as Josquin, Obrecht, Isaac, and Senfl, as well as numerous lesser-known and anonymous composers.
Patrician Institutions and their Medieval Heritage
Authors: Kendrick Robert L 
Published: November 2023

Abstract
The young Milanese musicians of this study entered institutions of varying character, thereby to some degree conditioning their musical life. From the Middle Ages through the Settecento, the sheer number of monasteries and their weight in urban prestige were impressive, although hardly atypical. Of the forty-one female houses in the Milan of 1600, polyphony would be recorded at some two-thirds.The art also became widespread in the extra-urban foundations of the diocese.
Monastic Musical Traditions
Authors: Kendrick Robert L 
Published: November 2023

Abstract
For that plurality of Milanese patrician women in cloisters, the cultural markers of the orders—patron(ess) saints, monastic Rules, liturgical uses—provided self-identification, social grounding, occasions for devotion, and possibilities for musical development. The preceding three chapters have highlighted the differing traditions of the various religioni, and thus suggest that to speak of ‘nuns’ en bloc is an over-generalization.
Nuns’ Music in the Milanese World-view
Authors: Kendrick Robert L 
Published: November 2023

Abstract
Two printed objects, spanning the period, highlight the profoundly supernatural and transcendent ideology of urban society, including its musical nuns: the I 578 city map in which the Trinity (having ended the plague) hovers over the Lombard capital; and Filippo Picinelli’s encyclopaedic compendium of the metaphoric and emblematic content of the natural world, his Mondo simbolico. For women like Angela Flaminia Confaloniera, music had meaning as part of a larger, divinely ordained world order: it was a vehicle to communicate eternal truths of spirituality and cosmic harmony. But given the polyvalence of symbols and texts in early modern Milan, it is important to delineate the transcendent content of nuns’ music, both for performers themselves and for their urban audiences, with the maximum specificity possible, and with attention to the actual music linked to such symbolism.
The Evolution of the Chant Tune
Authors: Wilson Ruth M 
Published: November 2023

Abstract
Chanting the prose psalms or canticles in harmony is a unique and distinguishing feature of the English liturgy. It has its own highly specialized genre of chant with an official name, Anglican Chant, a distinctive written form, and conventions which theoretically govern its performance. Over the long period of its development, from the fifteenth century to the present, English chant has evolved from a wholly improvised practice to one which is partially improvised from written music. Since the harmonized form of commonly used liturgical melodies began to be written down in the 1660s, church musicians have composed melodies and harmonized them especially for this purpose. In the old Sarum liturgy written chants were not needed, since familiarity with the canon of liturgical melodies and extempore methods of harmonizing them were required of all singers. Even in the simplified English liturgy of the Reformation, the old melodies continued to be used in a similar fashion. The routine practice of writing chant tunes out, except in the special circumstances already noted, coincided with new composition by individual composers after 1660.
The Printed Sources
Authors: Brookes Virginia 
Published: November 2023

Abstract
Please refer to the Abbreviations for a complete list of the printed sources which are referred to in this catalogue. Most are given as references of instrumental and vocal concordances to the keyboard pieces. There are, however, three important printed sources of keyboard music, Parthenia (1612), Parthenia In Violata (1625), and Musick's Handmaid (1663), the contents of which are given below. Melothesia, an instructional volume by Matthew Locke (1673), has not been discussed in detail since most of its contents appear to be post-1660: it has been quoted only as it contains concordances to a handful of pieces.
Vienna and London, 1780–1800
Authors: Komlós Katalin 
Published: November 2023

Abstract
The last two decades of the eighteenth century brought the first golden age of the pianoforte. The instruments reached an advanced technical level, and the keyboard music of the mature classical style responded to the new possibilities. The grand pianoforte (or Hammerflügel in Austria and Germany) became a solo concert instrument, as no earlier keyboard instrument had been. Its first great players were its first great composers as well: Mozart, Clementi, Beethoven, Dussek.
Sonatas: Accompanied and Unaccompanied
Authors: Komlós Katalin 
Published: November 2023

Abstract
‘The keyboard sonata is set for the keyboard either alone or with another instrument such as the violin or flute,’ stated F. W. Marpurg, German theorist and composer, in 1762.1 This definition clearly reflects the interchangeability of the solo and accompanied keyboard sonata in the second half of the eighteenth century.
Janáěek’s Works
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
LeosJanácek (1854--1928) is one of the few great opera composers of the twentieth century; his operas, orchestral, chamber, and vocal works are all part of the international repertory. This catalogue is by far the most comprehensive to appear in any language, with up-to-date and reliable information on all his works. Each entry provides detailed information on date of composition (and shows on what basis dating has been arrived at); source of text or programme; performing forces; duration; manuscripts and their locations; publication (a complete listing); performances and productions; dedication; literature. A special feature is the explanation of terms which may be unfamiliar to the western reader such as 'Glagolitic', 'Varyto', 'Lachian', and 'Indian Club Swinging'. This catalogue is also the first to include a complete, annotated list of the composer's varied and extensive writings.
Stage
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
By 18 June 1888 (date on štross’s VS, BmJA, A 23.522); orchestration: (Acts 1 and 2 only), ?1888. Thirty years later Jan ácek found the full score of š árka (letter to Gabriela Horv átov á, 14 Jan 1918; SR13) and invited his pupil Osvald Chlubna to orchestrate Act 3 (Chlubna 1958b; SR15). Chlubna did so that summer (2-25 Aug 1918, dates in score).
Choral-Orchestral
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
The MS of Naše píseň [ 1J was given a new title; Janácek crossed out the old title and text, added new ones, and made a few other minor adjustments. These changes were made before the material was recycled again in 1891, when it was adapted, with yet another text, as the final number in Poccitek romcinu. See Pocáitek romáinu 1/3; Naše pisen [2] IV/21.
Orchestral
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
Janaček’s fair copy of the piece in the album of works written mostly during his Prague studies (1874-5) is undated, but the pieces before and after it are dated. From this Straková inferred that it was composed probably between March and June 1875, and certainly after the death of Arnost Förchtgott-Tovačovsky on 18 Dec 1874 (Straková 1959, 174). The piece was later revised in pencil (possibly by Jánacek), in an attempt to remove some of the technical imperfections such as parallel fifths and the incorrect notation of the double bass part.
Keyboard
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
These exercises were tasks set as part of Janá ček’s studies at the Prague Organ School. They include cadences of various types and keys, exercises in modulation, chorale harmonizations, and contrapuntal exercises. From his analysis of Janáček’s surviving exercise books, Helfert (1939, 81) concluded that 34 of the many examples written into the books are Janacek’s own exercises.
Unfinished
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
The organ builder F.G. Steinmeyer of Oettingen in Bavaria had built the new organ for the Augustinian Monastery in Brno (1875-6; Helfert 1939, 179), and invited Janá ček, then choirmaster at the monastery, to visit their workshop in Bavaria. Janá ček went there in the summer of 1878 and composed the present fragment for organ during this time.
Lost
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
Helfert (1939, 317), attributing the information to his pupil Bohumír štědroiň, reported that ‘in the records of the Old Brno [Monastery] choir there is evidence of a Mass by Janácek at the time he was choirmaster’. Twenty years later štědroin in his own catalogue (DU, 47) was still unable to locate this Mass any more precisely than ‘1870s’, though it would seem more likely to have been written while Janácek was at his most productive in liturgical music and before his connections with the Beseda brněnská in 1876.
Spurious
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
The Nokturno is not mentioned in Janadek’s letters from Leipzig to Zdenka Schulzova. It is not clear where Helfert’s information in 1937 came from; he evidently soon had second thoughts, as it is not mentioned in his 1939 monograph, which examines the Leipzig works in detail. Two later lists (SV, 35 and DU, 49) have included the piece, though without producing any further evidence.
Writings
Authors: Simeone Nigel , Tyrrell John , Němcová Alena 
Published: November 2023

Abstract
A review of the performance of the Gregorian Mass In dominicis Quadragesimae in the Piarist church in Prague (24 Jan I 875) under the director of the Organ School Frantisek Skuhersk ý. Janacek criticizes several shortcomings in the performance of the chant and at the same time suggests improvements.
Musical Apprenticeship in Noble Households
Authors: Hulse Lynn 
Published: November 2023

Abstract
Shortly after Michaelmas 1603 Lady Anne Clifford, daughter of the third Earl of Cumberland, visited her aunt at North Hall in Hertfordshire where, according to her diary, she ‘learned to sing & play on the Bass Viol of Jack Jenkins my Aunt’s Boy’.1 The young musician attached to the household of the widowed Anne Dudley, Countess of Warwick may have been the violist and composer, John Jenkins.2 Apart from a legacy of £10 a year which Lady Warwick bequeathed to her servant in 1604, nothing is known about the conditions under which Jenkins was employed;3 however, by the beginning of the seventeenth century the terms of service pertaining to the employment of boy musicians in the households of the ruling elite were well established.
William Cobbold’s ‘New Fashions’: Some Notes Concerning the Reconstruction of the Missing Alto Part
Authors: Kramme Joel 
Published: November 2023

Abstract
In his edition of Consort Songs (MB 22) Philip Brett includes William Cobbold’s ‘New Fashions’ as the sixth and last example of Cries for Voices and Viols, incorporating it with ‘The Cries of London’ by Thomas Weelkes and Orlando Gibbons, ‘The Cry of London’ by an anonymous composer, and ‘The City Cries’ and ‘The Country Cries’ by Richard Dering.1 Despite the lack of any bona fide Elizabethan street vendors’ jingle, Brett highlights ‘New Fashions’ as ‘the most ambitious of these curious compositions that incorporate the shouts and songs of the London streets into the framework of the fantasy for viols’.2 With at least ten popular tunes superimposed upon a set of thirtyfour presentations of the ‘Browning’ theme, ‘New Fashions’ qualifies equally well as a quodlibet, set of variations on the ‘Browning’ tune, or ‘cry’. The notation of the various popular tunes and ballads and their sequential relationships is provided in Appendix A; the sequence of the ‘Browning’ variations and superimposition of the broadside tunes is illustrated in Appendix B, and a sequential composite of the literary text may be found in Appendix C.
The Eighth Symphony
Authors: Kennedy Michael 
Published: November 2023

Abstract
The Eighth Symphony is a throwback to the Mahler of Symphonies 2, 3 and 4 and a return to words as the carriers of his ideas. It is as if, after the secular, worldly confessions of Nos. 5, 6 and 7, he had returned to the search for redemption which had obsessed him in the 1890s. Alma is reported to have said, in a moment of exasperation, that ‘Gustav is always on the telephone to God’. In No. 8 he was on the hot line. I have already quoted his description of how ‘the Spiritus Creator took hold of me and shook me and drove me on’ when he went to Maiernigg in 1906. He composed the symphony between 21st June and 18th August, and he told Schoenberg it was ‘as if it had been dictated to me’ – again the sense of ‘being composed’. That it represents a profound spiritual experience cannot be gainsaid. Mahler even went so far as to say to Specht that he regarded it as ‘a gift to the whole nation’.
The Music 1841-1849
Authors: Macdonald Hugh 
Published: November 2023

Abstract
In the years 1841 to 1846 the disorder of Berlioz’s home life and his frequent absences from Paris are immediately reflected in the frag­ mentation of his work as a composer. It is painful to reflect on the larger works that might have been written at this time if he had found stability and tranquillity; the preceding years had demonstrated that his invention had never been more fertile or his technique more assured; the range of styles and subjects open to him was vast, his response as full-blooded as ever. But until La damnation de Faust emerged miraculously from his itinerant workshop in 1846, his genius is only fitfully active. Any period which produced such moving and diverse works as the Hymne à la France, the Corsaire overture, and the Hamlet march cannot be considered fallow, but the slackening in pace and the uncertainty of direction are none the less evident. Two symptoms of this slackening may be identified: one is his repeated turning to his own and others’ works to make arrangements from them; the other is his inability to find an opera subject or libretto which suited him.
The Romantic foreground
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Popular music-history names the century into which Brahms was born ‘the Romantic era’. The label identifies a period that asserted instinctive drives of feeling and imagination, of individual and collective identity, long pent up by the cosmopolitan rationalism of the eighteenth-century Enlightenment. We trace it from late Beethoven and Schubert to late Mahler, and situate it between the age of Viennese Classicism, and the ‘modern’ period initiated by Schoenberg, Stravinsky, Bart6k and others. Romanticism’s musical manifestations include the ‘magical’ operas of Weber and Marschner, the virtuoso instrumental writing of Paganini, Liszt and Alkan, the hybrid dramatic forms of Berlioz, Liszt’s symphonic poems, the music dramas of Wagner,
Fully armed like Minerva: the music to 1860
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms’s famous capacity for self-criticism appears to have been a native trait, active from his earliest years. There are plenty of indications that he was a prolific composer throughout his early and middle teens - we hear of a piano sonata written at the age of eleven; pieces for the choral society in Winsen; songs, even song cycles; early attempts at chamber music; and, among the better-documented items, a Piano Fantasia ‘on a Favourite Waltz’ which he performed at his second public recital in Hamburg in 1849. All of these seem to have been destroyed, and the earliest work which he allowed to be published under his own name is the E flat minor Scherzo of late 1851.
The sense of the past
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
Brahms’s lifelong fascination with what we now call early music, going back as far as the Renaissance period in Germany and Italy, and to composers such as Isaac and Palestrina, is well known. But to most of his contemporaries it seemed an eccentric enthusiasm, and his first biographers were ill-equipped to understand its significance. During his lifetime, although the works of Bach and Handel were gradually gaining appreciation, the value of music earlier than the Classical period was hardly generally accepted; the majority of critics and music-lovers would have considered it outmoded, ‘primitive’, uncouth, and above all boring, and would have questioned whether it was worth performing at all. Only in recent years - with the enormous explosion of interest in the whole early music field that has taken place since the mid-twentieth century in performances, editions, musicological discussion and recordings - have Brahms’s attitudes begun to seem important, even prophetic and pioneering.
Music and Menschenbild
Authors: MacDonald Malcolm 
Published: November 2023

Abstract
In his own estimation, Brahms was a self-taught composer. Despite his prodigious natural talent, honed by Marxsen’s intensive training in certain aspects of technique,1 the young Brahms felt painfully deprived of a general musical culture. Many years later he commented to Richard Heuberger that Schumann, Wagner, and he himself had all been forced to find their own (quite separate) paths to mastery because they lacked the kind of strict education in a living tradition that Mendelssohn, say, had acquired from Zelter in Berlin, or his French contemporaries at the Paris Conservatoire under the powerful aegis of Cherubini. The voracious studies of older music and pre-Classical technique which Brahms undertook in the 1850s, although they established the predilections of a lifetime, began as a desperate course of self-improvement.