bluuebunny/crossref_metadata_2025_split huggingface dataset:
Ars Nova and Algorism
Authors: Page Christopher 
Published: November 2023

Abstract
IN his Notitia artis rnusice of 1321, Johannes de Muris reveals that measured notation had become a subject of lively interest. Duple mensuration, the new rules for imperfection, and the device of coloration (whereby, in common practice, a coloured note loses one-third of its value) now offered scope for keen enthusiasms and disagreements. These innovations were so significant that Johannes, pondering them at the close of his treatise, found himself reflecting upon the restless and ultimately futile motion of all human thought. ‘Opinions and scientiae revolutiones race onwards’, he declares, ‘and come round in a circle ⃛’.
Prophet without Honour(1894-1895)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
Albeniz‘S first assignment from Coutts was to set the libretto for an opera whose action takes place in fifteenth-century England, during the Wars of the Roses, eventually entitled Henry Clifford. Albeniz began work on this new opera about the time he decided to leave London, for reasons of health, in the autumn of 1893.1 Another motivation for the change of locale was that his wife Rosina did not care for the climate and ambience of London.2 She much preferred Paris, which she found more congenial to her temperament and where she could speak French, in which she was more fluent than English (though born in Catalonia, she was of French extraction3). He was no doubt also attracted to Paris as the artistic and intellectual mecca of Europe.
The Imperfect Wagnerite(1898-1904)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
The next product of Albeniz‘s professional association with Coutts was an operatic project on a truly grand scale, one that held tremendous importance for Coutts, if not as much for Albéniz. This was a trilogy of operas based on the Arthurian romance Le Morte dʾArthur by the fifteenth-century English author Sir Thomas Malory. The constituent parts of the King Arthur trilogy were to be Merlin, Launcelot, and Guenevere. The urgency Coutts felt about this project is already apparent in a letter of 4 January 1895 (previously quoted in connection with his quest for a suitable title for Henry Clifford), in which he relates the following:
Iberia (1905-1909)
Authors: Clark Walter Aaron 
Published: November 2023

Abstract
Albéniz and Brussels went back a long way, and he retained many friends and professional connections there. In 1905 he finally succeeded in securing a production of Pepita Jiménez and his zarzuela San Antonio de la Florida at the Theatre Royal de la Monnaie,2 with which he had kept up a long correspondence on this very matter.3 The opera and the zarzuela premiered together on 3 January, 1905, with additional performances on 6, 10, 13 January, and 1 February. Maurice Kufferath translated the opera libretto into French4 and the work appeared as a comedic lyrique in two acts and three scenes (cast in Table 10). The production was apparently a huge success, though its total of five performances might not suggest this.
Years of Crisis
Authors: Wegman Rob C 
Published: November 2023

Abstract
On 7 February 1485 the chapter of St Donatian’s at Bruges discussed the recent resignation of their succentor Aliamus de Groote. Having decided to appoint Johannes Rykelin temporarily in his place, the canons went on to consider the very timely application of magister Jacob Obrecht, master of the choirboys at Cambrai Cathedral. He had expressed a strong interest in the position: a friend of his, presumably the singer Jean Cordier (himself a canon at St Donatian’s), assured the chapter of Obrecht’s ardent wish to become the new succentor.
The Critical Phase
Authors: Wegman Rob C 
Published: November 2023

Abstract
As succentor at St Donatian’s, Jacob Obrecht faced a demand for new mass music that must have been greater than at any other time in his life.1 His tasks included the writing of a new mass every year for the Feast of Cripples (celebrated on Thursday in Whit week). The Rogation Days similarly required an annual newly composed mass—and this in competition with his colleagues at St Saviour’s and Our Lady’s.
Transitional Years (1769–1773)
Authors: Howard Patricia 
Published: November 2023

Abstract
If Calzabigi’s claim, that Paride ed Elena was already written by the end of 1768 is true, then Gluck’s years between then and his first French opera were singularly barren. He revised L’innocenza giustificata, under the title La Vestale, for a performance at the Burgtheater in the summer of 1768; only the libretto survives, providing the information that Gluck had been elected as a member of the Arcadian Academy under the name of ‘Armonide Terpsicoreo’.1
Chanting and Choral Service C.1690-C.l 820
Authors: Wilson Ruth M 
Published: November 2023

Abstract
Not all churchmen concerned about the state of the national church in the early eighteenth century predicted such dire consequences as these from compromises and abrogations proposed in the traditional performance of cathedral choral service. Chanting the prose texts of Morning and Evening Prayer, Litany, and Communion, nevertheless, was at the centre of the liturgical ritual which had defined choral worship for centuries. The extraordinary character of cathedrals and collegiate churches and chapels seemed to depend as much on whether or not they chanted the prayers as on their special status at the top of the hierarchy of institutional bodies within the Church of England. Chanting the prose psalms in harmony ‘by sides’ was not viewed in exactly the same way, for in places where orders were given to cease chanting prayers, the psalmody was exempted.
Gibbons in the Bedchamber
Authors: Pinto David 
Published: November 2023

Abstract
Revival of interest in the ensemble music of Orlando Gibbons can claim a history of a century and a half, counting from the pioneering edition of his three-part fantasies by Edward F. Rimbault. A recent full critical edition of all the extant works in the Musica Britannica series would seem to crown the process; and yet there has been little detailed attention paid at any time, except by two stalwart champions, Ernst Meyer and Thurston Dart, to what is a respectable body of work by a great composer, little of which shows him beneath the height of his powers.1 One senses that even now the instrumental works languish in the long shadow cast by his other achievements and the disastrous eclipse undergone for long by ensemble music of his time. Parry may have been unusually forthright in his disdain, but he was not untypical in judging fantasy music no more (nor less) than ‘a drouthy aberration rather characteristic of English composers’. He felt that for one’s peace of mind ‘the whole branch of art might almost be spared consideration, but for its being such an extensive futility’. After this bout of exasperation, it is reassuring to learn that he was ready to see in Gibbons’ three-part fantasies ‘a grit ... and an energy and force’, though even they hardly matched his ‘rare and peculiar genius’, and compared unfavourably with Andrea Gabrieli’s four-part ricercari.
‘To Glorify Your Choir’:The Context of Jenkins’s Sacred Vocal Music
Authors: Smith Kathryn 
Published: November 2023

abstract
The latter part of the twentieth century has witnessed a distinct pattern of research and publication of scholarly and practical editions of mid-seventeenth-century instrumental music, yet a parallel interest in contemporary vocal music has been less visible. Consequently it is not surprising that the vocal music of John Jenkins, highly regarded as an instrumental composer, should languish in obscurity. The primary source for Jenkins’s surviving vocal works is Mus. 736-8 at Christ Church, Oxford. Apart from an article by Vincent Duckles focusing on Jenkins’s settings of poetry by George Herbert, this manuscript set of three partbooks containing fifty-five threepart vocal works (seventeen of them by Jenkins) has received little attention.1 Undoubtedly one reason for its neglect is its three-part scoring: vocal ensembles have tended to seek out music in four or more parts. This is unfortunate, because the three-part repertoire in England during this and the earlier Elizabethan and Jacobean periods deserves frequent performance. For important examples, one need only look to settings of the seven Penitential Psalms by Byrd and Tomkins, which may have served as inspirational models for Jenkins.
The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts
Authors: Ashbee Andrew 
Published: November 2023

Abstract
In an important recent study, Harold Love has drawn attention to what he labels ‘scribal publication’, that is ‘the publication of texts in handwritten copies within a culture which had developed sophisticated means of generating and transmitting such copies’. Although he is primarily concerned with literary sources, Love’s own interest in English consort music has made him aware of the work undertaken by seventeenth-century music copyists in supplying the needs of patrons and players, for, apart from Gibbons’s famous set and others by East, consort music was transmitted in manuscript, not print. As work on the Index ef Manuscripts Containing Consort Music gets under way, consideration of how consort manuscripts were compiled and distributed is a necessary element in trying to understand their format and provenance. The social setting of this music is crucial to an understanding of its deployment, and Love is at pains to point out that ‘scribal publication’ of consort music served a particular and clearly defined clientele. Professional musicians apart, it was the privileged aristocracy, merchants, clergy, and their families who enjoyed playing the viol repertory.
Some Late Sources of Music by John Jenkins
Authors: Thompson Robert 
Published: November 2023

Abstract
English chamber-music manuscripts of the later seventeenth century display a remarkable diversity of content. By the 1680s if not before a variety of Continental music had found its way into the English domestic repertory, but older English music, as well as the work of contemporary English composers, retained considerable popularity, and it is often difficult to establish the date of seventeenth-century partbooks on the basis of their content. The evidence of paper type, watermarks, and manuscript structure, in conjunction with other kinds of information, not only indicates that works by Jenkins formed part of a considerable repertory of earlier English music still being copied and played well into the last quarter of the seventeenth century but also, by confirming the approximate date of a number of unique or closely related sources, lends further support to the suggestion that Jenkins remained an active and innovative composer in his old age.1
Jenkins’s Lute Music: An Approach to Reconstructing the Lost Multitudes of Lute Lessons
Authors: Spring Matthew 
Published: November 2023

Abstract
Information on Jenkins as a player comes from three groups of records: court documents and accounts, references to him in the Burwell Lute Tutor, and comments made by Roger North. Taken together these give us some idea of Jenkins the lutenist. Sadly it seems that not a single piece of music by him survives in any source of lute music that has yet come to light. One approach to rectifying this loss is to adapt pieces by him from lyra-viol and baryton sources. Lute music and lyra-viol music in Caroline England had much in common, and it is clear that pieces for one instrument can easily be adapted for the other. There are also indications that this was a contemporary practice. This paper seeks to review all the source information on Jenkins as a lute-player, leading to the formulation of an approach to making a stylistically correct and idiomatic adaptation into lute music of suitable pieces by Jenkins from baryton and lyra-viol sources. Finally some of the resulting lute pieces are presented alongside the originals.
Mahler
Authors: Kennedy Michael 
Published: November 2023

Abstract
Bridging the nineteenth – and the twentieth-centuries, the late-Romantic tradition and the beginnings of modernism, Mahler’s music is an intimate reflection of his life and thought – and his continual self-questioning on matters of belief and the role of mankind. In this revised and enlarged edition of his Master Musicians volume, Michael Kennedy has drawn on new documentary evidence which has enabled him to give a much fuller account of Mahler’s childhood and youth, and of his years as an opera conductor in Cassel, Prague, Leipzig, Budapest, Hamburg, and Vienna. All of Mahler’s works are discussed and for the reprint in 2000 the author has added a new chapter covering recent research on the composer.
The boy martyr
Authors: Kennedy Michael 
Published: November 2023

Abstract
The music of Gustav Mahler is the bridge from the nineteenth century to the twentieth. His last seven major works were composed in the first decade of the twentieth century, which was also the last decade of his life; and while it is true that in his music we can hear the culmination of the Romantic tradition, it is equally true that in it we hear the music of the new epoch in composition which followed the overthrow of tonality. Nostalgia and prophecy, both are there, symbolic of Mahler as man and musician.
‘Abschied’
Authors: Kennedy Michael 
Published: November 2023

Abstract
Mahler spent only parts of 1908–11 in New York. We must therefore go back to May 1908, when he returned to Europe to conduct his First Symphony at Wiesbaden. He had composed nothing in 1907 and there was no question of returning to Maiernigg with its painful memories. Alma found them a farmhouse at AltSchluderbach outside the village of Toblach in the Dolomites, a region of unspoilt natural beauty. There in June he set to work again. But now, perhaps for the first time, he fully realized the implications of his heart ailment. He wrote to Bruno Walter from Toblach:
Rückert Symphonies
Authors: Kennedy Michael 
Published: November 2023

Abstract
When discussing the three central instrumental symphonies, Nos. 5, 6 and 7, several writers seem to have been so dazzled by their complexity and ingenuity that it is difficult, when listening to the music, to equate it with the verbal contortions and metaphors employed. There is perhaps a parallel with the late quartets of Beethoven, which for years were regarded as on such a high plane of musical philosophy that hardly a coherent paragraph could be written about them. Bernard Shaw was not merely an iconoclast but a heretic when he wrote in 1894 of the late quartets as ‘beautiful, simple, straightforward, unpretentious, perfectly intelligible’. Mahler’s three middle symphonies are not simple and straightforward, but they are beautiful and intelligible. Few composers have benefited more from the invention of the longplaying record and tape-recording. Only in the second half of the twentieth century has it been possible fully to absorb these works, not through the score and the memories of isolated performances but by constant study of their sound in a series of superb interpretations. Far from breeding contempt, familiarity increases admiration for their mastery. They are complex, but Mahler’s grand designs are logical and purposive, becoming clearer and simpler with each repetition.
Das Lied von der Erde
Authors: Kennedy Michael 
Published: November 2023

Abstract
When Theobald Pollak gave Hans Bethge’s The Chinese Flute to Mahler, he set in motion a masterpiece in which the words acquired an extra dimension and became inseparable from the marvellous music to which they were set. The genesis of Das Lied von der Erde has been described in Chapter 8. In Mahler’s depressed state in 1907 and 1908, when he was suddenly conscious of his physical limitations and therefore exceptionally aware of his mortality, the eighty-three poems which Bethge paraphrased from English, German and French translations of the Chinese originals aroused profound thoughts and distant echoes. Bethge’s sources were Hans Heilmann’s Chinesische Lyrik, Judith Gautier’s Le Livre de Jade and the Marquis d’Hervey-SaintDenys’s Poesies de /’epilogue des Thang. Gautier’s translations provided the models for both Heilmann, in 1905, and Bethge. But her translations were very free and she was careless, or uncaring, about her attributions. Certain of the poems Bethge adapted from her book are not by the Chinese poets she names; and in Von der Jugend (which is not by Li-Tai-Po) the way clothes were worn at that period in Chinese history meant that what she described in the fourth stanza – ‘their silken sleeves slip backwards, their silken caps perch gaily on the back of their necks’ – could not have occurred.
Afterthoughts
Authors: Kennedy Michael 
Published: November 2023

Abstract
In the decade since I revised this book, research on Mahler has continued unabated. New books about him have been written, wonderful facsimile editions of some of his scores have been issued, and performances and recordings of his music have multiplied. As the twenty-first century arrives, there seems little likelihood of any diminution of interest in any aspect of Mahler. Much of the latest research has been brought together in one large and handsome volume, The Mahler Companion (Oxford, 1999), edited by Britain’s leading and indefatigable Mahler scholar Donald Mitchell and by Andrew Nicholson. It is to this book that I am indebted for most of this chapter, a debt I acknowledge with gratitude. The early cantata Das klagende Lied was heard in 1997 for the first time in its original form and scoring and has since been recorded. Mahler himself never heard this 1880 version, in which there were four soloists, an off-stage band and a children’s choir. This original version is more radical than the two-movement version which Mahler eventually conducted in Vienna in February 1901 after a lengthy process of revision, begun in Hamburg in 1893.
1825–30
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The events of 1825 were considerably more varied. Henriette Mendelssohn’s pupil had now married, and in March Abraham decided to go to Paris to fetch his sister back. He was still uncertain whether, with all his successes, it was wise to allow. Felix to become a professional musician, and he therefore took him too, to show him to Cherubini and ask his advice.
Overtures and other orchestral works
Authors: Radcliffe Philip 
Published: November 2023

Abstract
The earliest overture is that in C for wind instruments (Ouverture fur Harmoniemusik) op. 24, writen in 1824, but revised before publication in 1839. This is not a work of great individuality; the slow introduction is strongly influenced by Mozart and the rest by Weber. But it is thoroughly fluent and ably written, and should be very effective in performance. The so-called ‘Trumpet’ Overture, published posthumously as op. 101, dates from 1826, and was revised in 1833. It is a considerably maturer work. The themes are not particularly striking in themselves, but they are treated with real imaginativeness.
Songs, duets and partsongs
Authors: Radcliffe Philip 
Published: November 2023

Abstract
A general idea of the value of Mendelssohn’s songs can be obtained by putting them beside their equivalent in the instrumental works, the Songs without Words for piano. Though they are more numerous, a smaller proportion of them sink to the level of the weakest of the piano pieces; on the other hand they do not often rise to the level of the best. They contain much pleasant music, but there is a sameness about them in general, and Mendelssohn did not respond to words with the vivid intuition of Schubert or Schumann.
Liszt
Authors: Watson Derek 
Published: November 2023

Abstract
Liszt's career at the centre of the Romantic Movement encompassed the legendary virtuoso tours, the composition and transcriptions which revolutionized the possibilities of the instrument, his important period as conductor in Weimar, his creation of new types of orchestral and choral music, his influence as a teacher, and his lifelong radical approach to harmony, tonality, and form. Derek Watson also examines Liszt's liberal religious philosophy, his artistic aesthetic, and his tireless efforts on behalf of fellow musicians, viewing him essentially as a cosmopolitan, pan-European figure, unique in the breadth of his travels and culture, who drew upon a richly diverse legacy of art, and who in turn left his mark on many different schools of composition. Areas of his music which have been hitherto ignored or forgotten are brought to light, and several myths and misunderstandings about the man and his art are exposed and exploded.
Son of Immigrants (1797-1808)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
Franz Peter Schubert was born on Sunday, 31 January 1797 at 1.30 in the afternoon in the Himmelpfortgrund suburb of Vienna. He was the twelfth child born to the then 40-year-old Maria Elisabeth Katharina, known as Elisabeth (1756-1812), and Franz Theodor Florian Schubert (1763-1830), the local elementary schoolteacher. The boy was baptized on the following day by Father Johann Wanzka, parish priest of the nearby Lichtental church dedicated to ‘the fourteen friends in need’ (Zu den vierzehn Nothe/fern); Johann Karl Alois Schubert (1755-1804), his father’s elder brother, was the child’s godfather. In this time of high infant mortality, when children frequently died within a few days of birth, prompt baptisms were the order of the day. Of the Schuberts’ eleven children so far, although all had survived the first two weeks, seven had subsequently died. The survivors were Ignaz (almost 12), Josef (3), Ferdinand (2), and Karl (14 months). Of these, Josef was to die at the end of the following year, probably of smallpox.1
Schooldays (1808-1813)
Authors: McKay Elizabeth Norman 
Published: November 2023

Abstract
ON September 1808 Schubert attended the Stadtkonvikt to compete in the audition and entrance examination for a place in the Court chapel choir and for the academic privileges which would accompany it. Among his examiners were Anton Salieri and Dr Franz Innocenz Lang, the director of the Stadtkonvikt. According to his brother Ferdinand (1794-1859), jokes were made by other candidates about the pale, whitish-blue coat that Franz Peter was wearing.’ No doubt dressed for the occasion as smartly as his hardpressed parents could afford and in a style they thought appropriate, Schubert overheard the comments, and noticed the mirth of the other boys at his expense: ‘He must be a miller’s son. He’ll get in, for sure!’2-a jest maybe, but reflecting the hard and hungry times in which they were living. Thus, even before his acceptance at the school the boy could have been made to feel awkward, shy, socially inferior or different from his peers, many if not most of whom would have come from more comfortable and privileged backgrounds than his own.