User:Kosboot/sandbox

User:Kosboot/Sandbox, User:Kosboot/sandbox2

m:Learning_patterns

• http://notes.wikimediadc.org/p/timeline
• https://meta.wikimedia.org/wiki/IRC/wikipedia/Guidelines
• https://commons.wikimedia.org/wiki/Commons:Structured_data/Overview

Sutro: Women in Music and Law https://books.google.com/books?id=LGJIAAAAYAAJ&dq=sutro%20women%20and%20the%20law&pg=PA27#v=onepage&q=sutro%20women%20and%20the%20law&f=false

Andromache

Andromache is an opera in two acts with words and music by Herbert Windt. The opera is based on the play Andromache.by Euripides, as well as Racine's Andromache, Virgil's Aeneid with background material based on The Iliad by Homer.

Background

In an article published six months before the opera's premiere, Windt acknowledged that he had known the story of Andromache for many years. The appeal of writing an opera on the topic (his first) was based on "my idea of choosing events and characters that were as remote in time as possible, in order to be able to ascribe new contexts and new lives to these actions and characters that are well known in themselves, without changing or alienating the image that we have established too much." Windt understood the challenge of making a modern audience relate to legendary characters:

"In order to bring an old subject to life, to awaken it from its dusty Sleeping Beauty sleep to new life, one must fill it with new life. And that can only happen if one tries to bring this past, which is several thousand years old, and our present closer together and bring them towards one another."

In seeing the connection between Skamander and current times, Windt wrote: "I certainly did not want to write a political play; but if such political events form the basis of a plot such as the present one, then naturally one cannot ignore its politics when adapting it without having brought it into some connection with our present." (Windt joined the Nazi Party in 1931, the year in which he wrote this.)

Roles

• Pyrrhus - about 25 years old

• Andromache -
• Hermione - about 20 years old with red hair. Ambitious, she deserts her cousin Orest to marry Pyrrhus, a marriage based on power, not love
• Orest - about 30 years old, brown hair. He bears the fate of the House of Atreus
• Theano - blonde, like Pyrrhus, age 17; she mirrors her brother's desires and wishes.
• Lamia - a little older than Hermione. She functions more as a confidant than as a servant.
• Phönix - in his late 50s with graying beard. He is always in uniform, aware of the dignity of his position.
• Skamander - a handsome dark-curled six-year-old boy.

Role	Voice type	Premiere cast, 16 March 1932 Conductor: Erich Kleiber
Pyrrhus, king of Epirus, son of Achills	tenor	Fritz Wolff
Theano, his sister	soprano	Else Fink
Andromache	mezzo-soprano	Margarete Klose
Skamander	silent role	Käte Lore Schenk
Hermione, daughter of Helena and Menelaus	soprano	Moje Forbach
Lamia, servant to Hermione	contralto	Else Ruziczka
Orest, son of Agamemnon, cousin of Hermione	baritone	Herbert Janssen
Phönix, captain of Pyrrhus’s palace	bass	Walter Beck
Servant of Hermione	tenor	Marcel Noë
Trojan women, soldiers of Pyrrhus
Choral director		Alexander Curth
Stage director		Franz Ludwig Hörth
Set design		Emil Preetorius (Grafiker)
Lighting

Music

Writing in 1931, Windt felt his score should enable a wide range of possible mediums: "For me it is self-evident that the greatest possible unity must exist between book and score, if the two are not to run parallel to one another. I therefore had in mind wide and rich possibilities of contrast in keeping with the style of the book and in this respect I pulled out all the stops that were available to me; from the more intimate chamber music style to the pathetic and pompous style of the "big orchestra."

With regards to being modernistic, Windt wrote: "I will never be one of those innovators who want to be "modern" at any price; on the other hand, I am not reactionary enough to underestimate the extensions brought about by modernity and not to use them where I consider them appropriate and justified."

Reception

Fritz Ohrmann, writing in Signale für die musikalische Welt, praised the quality of the performance which he felt was primarily due to Erich Kleiber's musical direction. He noted that "singer and actress" Margaret Klose gave a magnificent performance and gave high praise for Fritz Wolff. But Ohrmann had qualified words for the music. "Herbert Windt has not yet succeeded in creating an untouchable masterpiece on his first attempt. His first musical drama has undeniable, major weaknesses, but these cannot conceal the fact that behind him stands a full-blooded dramatist. But one who is only a promise whose creative powers - I believe - are far from being released because Windt was under the greatest psychological pressure for too long...Windt is the type of late-maturing composer, still internally unfree, who struggles with determination and maximum emotional commitment to realize his far-reaching artistic ideal. His themes do not always appear to have grown naturally, but often seem to have been forced upon him. They therefore lack a good deal of healthy drive. Above all, however, they lack the great breath to be able to swing out into a broad melody...This is how I explain the feverish restlessness of this music, which repeatedly pushes towards passionate outbursts, repeatedly towards new ecstasies and therefore too often lacks wise economy in the application of strong musical expressive powers... in the large ensembles and the effective choirs he demonstrates an extraordinary contrapuntal skill. He is thoroughly versed in the secrets of the diverse modern rhythms and handles the rich color palette of the orchestra with superior confidence.

Hugo Leichtentritt observed: "The singers tried their best without achieving a vocal effect that corresponded to the expenditure of resources. [The singers] were busy in the main roles, but due to the unsingable nature of their roles, they were only able to present themselves in the best possible light in places. The applause was friendly, but hardly reflected any enthusiasm or excitement on the part of the audience."

Writing as the Berlin correspondent for the New York Times conservative music critic Herbert F. Peyser gave a very negative view of the opera. "One can scarcely imagine a work for the lyric theatre more dismally barren of either popular appeal or artistic reward. A two-and-one-half-hour yelling match carried on against an unmerciful racket of heavy orchestral artillery, darkened stage...From one end of the evening to the other the piece is as static as it is dour. Of action there is as good as none...A chorus of mourning women chants and wails lugubriously...[the lead singers] spout and shriek in jagged declamation yards upon yards of those verbose, mouth-filling speeches which the French call 'tirades.'"

Publication

The vocal score (317 pages) was published by Universal Edition, copyright 1931, plate number U.E. 1118.

Sources used

• Ewers, Hanns Heinz (1932). "Einführung in das Werk". Blätter der Staatsoper. 12. Jahrgang (Heft 8): 10–11.
• Leichtentritt, Hugo (1932). "Herbert Windt: Andromache (Berlin, Staatsoper)". Die Musik. 24 (7): 517–518.
• Ohrmann, Fritz (1932). "Herbet Windts "Andromache" in der Berliner Staatsoper". Signale für die musikalische Welt. 90 (12): 271–274.
• Peyser, Herbert F. (April 17, 1932). "Andromache' a Dreary Opera". New York Times: 8.
• Strobel, Heinrich (1932). "Umgruppierung in den Berliner Theatern". Melos. 11. Jahr (Heft 4): 147–148.
• Windt, Herbert (1931). "Andromache". Anbruch. 13 Jahrgang (Heft 6-7): 152–153.

reprinted as:

• Windt, Herbert (1932). "Warum "Andromache"?". Blätter der Staatsoper. 12. Jahrgang (Heft 8): 5–6.

Categories: [[German-language operas [[Music dramas [[Operas [[1932 operas [[Opera world premieres at the Berlin State Opera [[Operas based on plays [[Operas based on classical mythology [[Operas based on works by Euripides

Kathi Meyer-Baer

Kathi Meyer-Baer was a musicologist, librarian and bibliographer, "arguably the most significant, and surely the most productive, female musicologist of her generation."

Katharina Gertrud Meyer was born to a prosperous Jewish family in Berlin on July 27, 1892. She attended a girls' gymnasium and later attened She studied piano with Frieda Kwast-Hodapp. She attended the University of Berlin studying in particular with Hermann Kretzschmar and Johannes Wolf. Her dissertation Der chorische Gesang der Frauen was initially rejected by Kretzschmar who provided no reason, so in 1915 she transferred to Leipzig University and submitted it to Hugo Riemann who accepted it immediately. As she had taken a second major in acoustics, she took exams with Johannes Wiener, who congratulated her upon passage of the exams.and was awarded the Ph.D. in 1916.. Her dissertation was published the following year.

She was the first woman to earn a Ph.D. as a musicologist.

She worked as the resident musicologist for bibliophile Paul Hirsch.

"In the end, she had no choice but to live her life as an independent scholar. She did so with grace, courage, perseverance, and enormous productivity."

References

• Josephson, David (2008). ""Why Then All the Difficulties!": A Life of Kathi Meyer-Baer". Notes. 65. JSTOR 27669837.

Luigi Bordese

Luigi Bordese (1815—1886) was an Italian composer who spent most of his career in Paris composing operas.

Luigi Bordese was born in Naples and was educated at the Naples Conservatory. From 1834 he resided in Paris where he composed numerous operas. When his operas no longer met with success, he directed his energies toward vocal pedagogy, publishing a number of vocal exercises. Of his many operas, Fetis described his output as containing more craft than art.

In RILM encyclopedias

Fetis

• BORDÈSE, Luigi By: Fétis, F. J., Pougin, Arthur M., Biographie universelle des musiciens et bibliographie générale de la musique, 1878 0101, Vol. 1, Issue Supplément et complément

• 30 leçons de chant à 2 voix (Choudens);
• 36 leçons de chant faciles et graduées (Gérard);
• L’Art de vocaliser, d’après Rossini (id.);
• Messe solennelle de Gloria, à 3 voix, chœur et orgue (Schonenberger);
• Messe du Saint Esprit, à 2 voix, chœur et orgue (id.);
• messe de Requiem à 2 voix (id);
• Messe complète à 3 voix (id.);
• La Semaine religieuse des demoiselles, 8 motets à 1 voix (id.);
• Nouveau mois de Marie, 12 prières à la Vierge, à 1 ou 2 voix (id.);
• 100 Chants sacrés à 4 voix d’hommes, avec accompagnement d’orgue ou d’harmonium (id.);
• Le Trésor musical des enfants, 90 chants et prières à 1 ou 2 voix (id.);
• Bouquet musical et religieux, 10 morceaux à plusieurs voix, pour le mois de Marie (id.),
• Solennités religieuses, 101 solos, duos et trios pour différentes voix, sur paroles latines, avec accompagnement d’orgue ou d’harmonium (id.);
• Fiori d’Italia, 14 chants (id.);
• Frère et sœur, Fais ce que dois, le Moulin des oiseaux, Oreste et Pylade, Fort comme un Turc, les Orphelines, Royal-Dindon, le Miracle des Roses, la Fête des Fleurs, les Deux Turennes, Assaut de Soubrettes, opérettes pour pensionnats; Noë, David chantant devant Saül, les rois Mages, Bethléem, la Prophétie, Judas, Jérusalem, l’Aveugle de Jéricho, scènes bibliques; le Pêcheur roi, Faust, Jocelyn, la Vision de Jeanne d’Arc, le Doigt de Dieu, l’Enfant égaré, la Jeune Martyre, Cora, la Jeune Négresse, Charlotte corday, la Vierge de Vaucouleurs, Chimène, Clotilde, reine des Francs, Jeanne Grey, le Songe de lady Macbeth, Jeanne d’Arc à Rouen, Sapho, scènes dramatiques et lyriques; les Fêtes bénies, album de *12 chants religieux à 1, 2 ou 3 voix; 3 hymnes
• Sacrées, pour 2 voix égales; 4 mélodies religieuses; 6 chœurs pour distributions de prix; 21 chants célestes, à 3 voix; les Femmes de la Bible, 12 morceaux à 1 voix. Enfin, à tout cela, il faut ajouter encore plusieurs centaines de mélodies, *Romances, chansons, airs, cavatines, duos, trios, chœurs, motets, morceaux de genre, etc. M. Bordèse avait fait recevoir en 1867, au Théâtre-Italien de Paris, un opéra semi-sérieux en 3 actes, la Fioraia, qui n’a pas été représenté.

Bio dict

• Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music
• BORDÈSE (Luigi). Italian comp., Naples, 1815. S. at Naples Cons. Went to Paris, 1834. Resided there from 1834. He has composed a number of light operas, such as Zelimo e Zoraide, 1834; La Mantille, 1837; L’Automate de Vaucanson, 1840; Jeanne de Naples, 1840; Les Deux Bambins, 1848, which have achieved temporary popularity.

Stieger

• Opernlexikon / Opera catalogue / Lexique des opéras / Dizionario operistico. II: Komponisten 1977. p. 135-136 Language: German. ISBN: 978-3-7952-0203-3.

|| [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]

• I promessi sposi || Oper || Checcherini, Gius. Checcherini || Neapel inv. 1830 t. Nuovo
• Zelimo e Zoraide = Il califo riconosciuto || für Turin1834, aber n.g.
• La mantille || Opéra comique ||1 || Planard u. Goubeaux, Hautefeuille || Paris || 31.12.1837 Op.com.
• L'automate de Vaucouson || Opéra comique || 1 || Leuven || Paris || 9.1840 || Op.com.
• La reine Jeanne (de Naples) || Oper || 3 || Leuven u. Brunswick (m.Monpou ) || Paris || 2.10.1840 Op.com.
• I Quindici || Oper || Tarantini, Leopoldo Tarantini || Neapel ||1842|| t.S.Carlo
• I Gemelli di Preston || Oper || 2|| Giacchetti, G. Giacchetti || Turin || 11.1842 t. Carignano
• Le Sultan Saladin || Opéra comique ||1 || Dupin || Paris || 8.2.1847 Op.com.
• Les deux Bambins ||Opéra comique ||1|| Leuven u. Brunswick || Paris || 4.12.1848 Op.com.
• Frère et soeur ||Operette ||Plouvier ||Paris ||1854 priv.
• Les deux comtesses ||Operette Flan, Marc Alex. Flan ||Paris ||1861 priv.
• La Fioraia ||Oper ||3 || ||1867für Paris, n.g.
• Les mensonges de la marquise || Operette ||1 ||Tourte, F. Tourte ||Paris ||1882
• Fais ce que dois || Operette || || ||
• Le moulin des oiseaux || Operette || Plouvier u.a. || in Nancy || 21.2.1898
• Oreste et Pylade ||Opéra comique ||1 ||Flan u.a. in ||Paris 23.10.1892 Rue de Turenne
• Fort comme un Turc ||Operette ||1 ||Flan u.a. ||in Le Havre ||16.5.1897
• Les orphelines || || || ||
• Royal Dindon ||Operette ||1 ||Flan u.a. in ||Paris ||5.6.1887 Salle Horticulture
• Le miracle des roses || || || ||
• La fete des fleurs Operette 1 Joly, A. Joly
• Les deux Turenne Operette 1 u.a. in Orleans 24.2.1887
• Assaut des Soubrettes Operette Flan
• Un concert chez les demoiselles de Saint-Cyr Operette
• L'esprit et le coeur Operette 1 Flan
• Fleur des champs Operette 1 Nac, Paul Nac 1888
• Le malade malgré lui Opéra comique 1 u.a. in Creuzot 6.7.1896
• Le marché aux domestiques(servantes) Operette 1 Trefeu u.a. in Creuzot 3.2.1889
• Chien et chat Operette
• Judith et Suzon Operette Tourte, F. Tourte
• La poule noire Operette Tourte, F. Tourte
• Le Sultan Aboul-Azor Operette

Dramatische und lyrische Szenen: [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]

• Le pecheur roi
• Faust
• Jocelyn
• La Vision de Jeanne d'Arc
• Le Doigt de Dieu
• L'Enfant egaré
• La jeune Martyre
• Cora
• La jeune Negresse
• Charlotte Corday
• La vierge de Vaucoulais
• Chimène
• Clotilde reine de France
• Jeanne Grey
• Le songe de Lady Macbeth
• Jeanne d'Arc à Rouen
• Sapho
• Attila Camp, A. de Camp 1882

Biblische Szenen:

• Noé
• David chantant devant Saul
• Les rois mages
• Bethléem
• La Prophetie
• Judas
• Jérusalem
• L'aveugle de Jéricho

Drexel 5612

Serial number	Modern pagination	Original pagination	Title	Composer	Scribe	Final	Printed source
1	1	1	The Princes Mask	Anonymous [Gibbons?]	1		Musica Britannica xx no. 44
[2]	1	1	A Masque	Anonymous [Gibbons?]	1		Fitzwilliam Virginal Book II p. 266
[3]	1	1	A Mask / The Jolly Sheapperd	Anonymous [Gibbons?]	1	G-C	Anne Cromwell's Virginal Book 1638 no. 30
4	2-3	2-3	The Scotish Gigg	Anonymous	1
5	4	4	Captaine Pipers Pavion	[Based on Dowland]	1
6	4	4	The Galliard	[Based on Dowland]	1
7	5	5	Bates Mask	Anonymous	1
8	5	5	A Mask / The Jolly Sheapperd	/finis E	1
[9]	6	6	Coranto Doc:Bull	Finish [Bull]	1		Musica Britannica XIX no. 79
[10]	7-13		The Quadaran Pavion Doc:Bull	/Finish Doc:Bull	1		Musica Britannica xix no. 127b and 127c
[11]	14		Prelude Dr:Bull	[Bull]	2		Musica Britannica xix no. 120
[12]	15	11	Paven	/Tho[mas] Weelke[s]	2		M.H. Glyn Weelkes, Pieces…p.6
13	15	11	Alman I	Anonymous	2
[14]	16	12	A Pavion	[Byrd]	1		Musica Britannica XXVIII no. 72a
[15]	17		[End of the galliard]	/finis Mr Bird	1		Musica Britannica XXVIII no. 72b
[16]	17-19	-17	A Pavion	/finis Doc:Bull	1		Musica Britannica xix no. 129a "Lord Lumley"
[17]	20-21	18-19	The Galliard	/Doc:Bull	1		Musica Britannica xix no. 132a "Regina I"
[18]	22-27	20-25	Mr Gibbons Peascod time	/finis Mr Gibbons	1		Musica Britannica xx no. 30
[19]	27	25	A maske	Anonymous	2	C	Anne Cromwell's Virginal Book 1638 no. 21
20	28	26	A Toy:I	Anonymous	1
21	28-29	26-27	A Toy	Anonymous	1
22	29	27	A toy	Anonymous	1
[23]	30		The Merie	Anonymous	1		English Pastime Music, 1630-1660 no. 72
[24]	31-33	29-31	Dr. Bull Go from my window goe	[Bull]	2		Musica Britannica xix no. 123
25	34-35	-33	The nine Muses:I	/finis Mr est	1	A
	36		The:2:muse		1	A
	37	35	The:3:muse		1	A
	38		The:4:muse		1	A
	39	37	The:5:muse		1	A
	40		The:6:muse		1	A
	41	39	The.7.muse		1	A
	42		The 8 muse		1	A
[26]	43	41	The Lord of Salisbury his Pavin	/finis Or Gibbons	1		Musica Britannica xx no. 18
[27]	44-45	-43	The Galiardo	[Gibbons]	1		Musica Britannica xx no. 19
[28]	46-49	-47	D; Bull Paven	[Bull]	2	A	Musica Britannica xix no. 86a "Fantastic"
29	49	47	Saraband [?]	Anonymous	3
30	49	47	Current price	[Anonymous: John Price?]	3	A
31	50		The highlanders marche	[Anonymous]	3	F
[32]	51	27	Volluntarie 4 parts	[Anon: Weelkes?]	1	A	Glyn Weelkes pieces…p. 4
[33]	52	28	Voluntarie 4 parts	/Mr Wilkes	1	A	Glyn Weelkes pieces…p. 2
[34]	53	29	An Almayn	/G[e]orge Farnaby	1		Musica Britannica xxiv no. 22
35	53	29	An Almayn	/Mr Hoop[er]	1
[36]	54	30	Coranto	/Mr Gibbons	1		Musica Britannica xx no. 40
[37]			A Almayne	[Anon]			Partenia In-Violata no. 16
[38]	55	31	The thumping galliard	/Doc Bull	1		Musica Britannica xix no. 90
[39]	56	32	A Toy D B	/Doc:Bull	1		Musica Britannica xix no. 93 "The Duek of Brunswicks Alman"
[40]	56-57	32-33	A Toy Mr Curch	/Finis mr Tompkins [Farnaby]	1		Musica Britannica xxiv no. 28
41	57	33	The Tobacco pipe	[Anon]	1
42	58-59	34-35	A Galliard mr Tompkins	/Mr Tompkins	1		Musica Britannica v no. 58 "Hunting Galliard"
[43]	59	35	The man in the moone	Anon	1		English Pastime Music, 1630-1660 no. 18
[44]	60	36	A Coranto Doc:Bull	Doc:Bull	1		Musica Britannica xix no. 97 "The Duches of Brunswicks Toye"
[45]	60	36	The [E]arle of [Sa]llisburis A Pavion	/Mr Bird	1		Musica Britannica xxvii no. 15a
[46]	61	37	The Galliard	/Mr Bird	1		Musica Britannica xxvii no. 15b
47	61	37	Mr Warwicks maske	[Anon]	1
[48]	62-63	38-39	A Pavion Mr Bird	Mr Bird	1		Musica Britannica xxvii no. 14a
[49]	64	40	The Galliard	/Finis Mr Bird	1		Musica Britannica xxvii no. 14b
[50]	65	41	The Ladie Folliotts Galliard	/Finis Mr Tompkins	1		Musica Britannica v no. 59
[51]	66-67	42-43	A Pavon Mr Bird	/Mr Bird [?]	1		S.D. Tuttle William Byrd, Forty-five pieces…p. 40
[52]	68-69	44-45	The Galliard Mr Bird	/Finis mr Bird [?]	1		S.D. Tuttle William Byrd, Forty-five pieces…p. 44
[53]	70-71	46-47	What if a day	/Finis Mr Tompkins	1		Musica Britannica v no. 64
54	72-79	48-55	O Lord in thee is all my trust	John Amner	1
	72	48	Mr Amner:I
	72-73	48-49	Vers:2
	73	49	Vers:3	/Forward
	74	50	Vers:4:
	75	51	Vers:5:	/Forward
	76	52	Vers:6:	/forward
	77	53	Vers:7:	/forward
	78-79	54-55	Vers:8:	/Finis Mr Amner
55	79	55	Voluntarie 3 parts	[Anon]	1
56	80	56	[No title, incomplete]	[Anon]	?	D
57	80	56	Voluntarie 2 parts	[Anon]	1
58	81	57	Volluntarie 3 parts	[Anon]	1	D
59	82	58	the princes delight	[Anon]	1	C
[60]	82-85	58-	galliard mr tomkins	[Gibbons]	2		Musica Britannica xx no. 24
[61]	86-89		A paven by mr D:Bull	[Bull]	4		Musica Britannica xix no. 88a
[62]	90-92		The galliard	[Bull]	4		Musica Britannica xix no. 88b
[63]	92-94		Mr: Gibbons Ground	[Gibbons]	2		Musica Britannica xx no. 26
	95	59	blank
[64]	96-97	60-61	A Pavion Mr Birds	[Byrd]	1		Musica Britannica xxvii no. 23a
[65]	98-99	62-63	The Galliard	/finis Mr Bird	1		Musica Britannica xxvii no. 23b
66	99	63	Alman	[Anon]	2	G-E
[67]	100-02	64-66	Sr Wil: Peter A Pavion	[Byrd]	1	G	Musica Britannica xxvii no. 3a
[68]	102-03	66-	Preludiū	/Or: Gib[bons]	1		Musica Britannica xx no. 2
[69]	104-05		Pav: D:Bull	[Bull]	2	G	Musica Britannica xix no. 128a "Trumpet Pavan"
[70]	106-10		Galliard Doc:Bull [one continuous piece; the second half begins m. 41]	[Bull]	2	G	Musica Britannica xix no. 132b and 132 "Regina II" and "Regina III"
	111	67	blank
[71]	112	68	[No title]	[Anon]	1	C	Anne Cromwell's Virginal Book 1638 no. 17
72	112	68	Pritty Dolley:Re	[Anon]	1	C-D
73	113	69	A Mask	[Anon]	1
74	113	69	Doe then	[Anon]	1
75	113	69	A Toy	[Anon]	1
76	114	70	A Mask	[Anon]	1
[77]	114	70	Mr Birds Gigg	[Byrd]	1		Musica Britannica xxvii no. 45
[78]	115	71	Ayre Mr Gibbons	[Gibbons]	1		Musica Britannica xx no. 35
[79]	115	71	A Toy Mr Gibbons	[Gibbons]	1	A	Musica Britannica xx no. 34
[80]	116	72	A Mask Mr Gibbons	[Gibbons]	1		Musica Britannica xx no. 45 "The Temple Mask"
[81]	117	73	A Galliard	[Gibbons]	1		Musica Britannica xx no. 25
[82]	118-19	74-75	The Queens Command mr Gibbons	[Gibbons]	1		Musica Britannica xx no. 28
[83]	120-21	76-77	The Itlian Grounde Mr Gibbons	[Gibbons]	1		Musica Britannica xx no. 27
84	121	77	Sarabran	/T. Holms	1
85	122	78	Allmaine	/Mr T Holmes	1
86	123		A Maske	[Anon]	1
	124-25		blank
87	126-28		Misere[re] D:Bull ["William Jauncy of the Clos in Salbery"]	[Bull]	2	G	Musica Britannica xiv no. 34
	129		BLANK
[88]	130-31	-79	[No title]	[Anon: Bull]	2	G	Musica Britannica xiv no. 38 "Salvator Mundi"
[89]	132-33	80-81	A Pavion mr Birde	[Byrd]	1		Musica Britannica xxvii no. 29a
[90]	134	82	The Galliard	[Byrd]	1		Musica Britannica xxvii no. 29b
	135		blank
[91]	136-37	84-85	Mr Bird a Pavion	/Finis Mr Bird	1		Musica Britannica xxvii no. 31a
[92]	138-39	86-87	The Galliard	[Byrd]	1		Musica Britannica xxvii no. 31b
[93]	140-41	88-89	A Pavion Mr Bird	[Byrd]	1		Musica Britannica xxvii no. 33a
[94]	142	90	The Galliard M B	[Byrd]	1		Musica Britannica xxvii no. 33b
95	143	91	/the virgyne	[Anon]	5	D
[96]	144-46	92-94	[No title]	[Bull]	6	A	Musica Britannica xiv no. 42 "Veni Redemptor Gentium I"
[97]	147		The Nightingall	[Anon]	1		English Pastime Music, 1630-1660 no. 15, Elizabeth Rogers Virginal Book no. 20
[98]	148		The Mock Nightingall	[Anon]	1	D	Elizabeth Rogers Virginal Book no. 47
[99]	148		A man had 3 sones	[Anon]	1	G	English Pastime Music, 1630-1660 no. 53
100	149		Almaine	[Mr: Mels]	2	Bb
101	149		/theSaraband Mr:Mels	Mels	2	Bb
102	150-51	90-91	the nightingall	[Anon]	5
103	151	91	the mock nightingall	[Anon]	5	D
[104]	152	92	a french Ayr	[Anon]	5	D	Elizabeth Rogers Virginal Book no. 50
105	152	92	An Almayne	[Anon]	5	G
106	153	93	the mayde	[Anon]	5
107	154	94	My pleasur	[Anon\	5	F
108	154-55	94-95	mr lawes flat tune	[William Lawes]	5	G
109	155	95	the Gentlewoman	[Anon]	5	G
[110]	156-57	96-97	Mall Simes	[Anon]	1		Monumenta Musica Neerlandica III p. 69
111	157	97	A Toy	/E	1
112	157	97	Little Dick	[Anon]	1
[113]	158	98	Why aske you	[Bull]	1		Musica Britannica xix no. 63
114	159	99	Tom A Bedlam	[Anon]	1
[115]	159	99	Williams his Love	[Anon]	1		Songs and Dance for the Stuart Masque, 1601-41 p. 158
116	160	100	Barowfostus Dreame	[Anon]	1
[117]	160	100	A Mask	[Gibbons]	1		Musica Britannica xx no. 41 "Nann's Mask or French Allmaine"
[118]	161	101	Almayne Mr Gibbons	[Gibbons]	1		Musica Britannica xx no. 33
119	161	101	Hay Makers Mask	[Anon]	1
[120]	161	101	A Mask	[Gibbons]	1		Musica Britannica xx no. 42 "Welcome Home"
121	162	102	A Mask	[Anon]	1
122	162	102	A Toy	/Finis Tho Holmes	1
[123]	163	103	My Lady Hattons Galliard	[Gibbons]	1		Musica Britannica xx no. 20
[124]	163	103	A Mask	[R. Johnson]	1		English Pastime Music, 1630-1660 no. 95
[125]	164	104	A Mask	[Anon]	1		English Pastime Music, 1630-1660 no. 86
126	164	104	A Mask	[Anon]	1
127	164-65	104-05	An Allmaine Mr Hooper	[Anon]	1
[128]	165	105	A Mask	[Anon]	1		English Pastime Music, 1630-1660 no. 83
[129]	165	105	The pleasnt widdow	[Anon]	1
130	166	106	[No title]	[Anon]	7
131	166	106	The Mock Widdow	[Anon]	1
[132]	167	107	A Toy	[Anon]	1		Anne Cromwell's Virginal Book 1638 no. 41
133	167	107	A toy	[Anon]	1
[134]	168	108	[No title]	[Anon]	1		Anne Cromwell's Virginal Book 1638 no. 27
[135]	168-69	108-09	Mr Blithman innomi[ne]	[William Blitheman]	2		Musica Britannica I no. 93
[136]	170-71	110-11	3 parts Mr:Gibbons = no. 168D	[Gibbons]	2
[137]	171-73	111-13	[No title]	[Bull]	2		Musica Britannica xix no. 66a "Pavana"
138	174	114	Alman law	[Anon]	2
139	174	114	Corante	[Anon]	2
140	174-75	114-15	Almaine	[Anon]	2
141	175	115	[No title][Corante]	[Anon]	2
142	175	115	Mells Alman	[Anon]	2
143	176	106 [116]	Cora[nte]	[Anon]	2
144	176	106 [116]	Saraband [?]	[Anon]	2
145	176	106 [116]	[No title]	[Anon]	2
146	177	107 [117]	[No title]	[Anon]	2
147	177	107 [117]	[No title]	[Anon]	2
148	178	108 [118]	a mask	[Anon]	2
149	178	108 [118]	A Toy	[Anon]	2	Bb
150	179	109 [119]	[No title]	[Anon]	2
151	179	109 [119]	[No title]	[Anon]	2	A
152	180	120	[No title]	[Anon]	1
153	180	120	[No title; but=no. 155 in different key]	[Anon]	2	F
[154]	180-81	120-21	The milke maide	[Anon]	2	C	Anne Cromwell's Virginal Book 1638 no. 31
155	181	121	Blewcapp	[Anon]	2	Bb
156	181	121	the Twins	[Anon]	2	C
157	181	121	The noble Shirve	[Anon]	2
[158]	182	122	The Boone Companion	[Anon]	1		Anne Cromwell's Virginal Book 1638 no. 18
159	182-83	122-107	[No title]	Lenord Mells	1
160	183	107	New hidd parke	[Anon]	1
161	183	107	[No title]	[Anon]	2
162	184-85	108-09	The Earle of Hartfords Muse A Pavion: Joh:Bartlet	[John Bartlet]	1
[163]	186-87	110-11	Lacrimae A Pavion Jo:Do:	[Anon: Based on Dowland]	1		English Pastime Music, 1630-1660 no. 66
164	188-89	112-13	James his Galliard	[Anon: Based on Harding's Galliard]	1
[165]	190-91	114-15	The Princes Galliard. Doc Bull	[Bull]	1		Musica Britannica xix no. 113
[166]	192-93	116-17	Bonny sweete Robin mr Bird	[Bull or Barnaby]	1		Musica Britannica xix no. 65 Musica Britannica xxiv no. 35 [with a 5th seciton]
[167]	194-95	118-19	Lulla by Mr Bird	[Thomas Byrd?]	1		E.H. Fellowes, Collected Works of William Byrd XX, part iii, p. 146
168A-H	196-206, 215	120-130, 131	[No title: 8 fantasies out of 9 that appear elsewhere]	[Gibbons; the name added by a lter hand]	6
168A	196-97	120-21		[Gibbons]	6
168B	197-98	121-22		[Gibbons]	6
168C	198-99	122-23		[Gibbons]	6
168D	200-01	124-25	[= no. 136]	[Gibbons]	6
168E	201-02	125-26		[Gibbons]	6
168F	202-04	126-28		[Gibbons]	6
168G	204-05	128-29		[Gibbons]	6	G
168H	206, 215	130, 131		[Gibbons]	6	G
[169]	199	123	Hidd Parke	[Anon]	1		Monumenta Musica Neerlandica III p. 66
170	207		[No title; incomplete]	[Anon]	3	F
171	207		maske	[Anon]	3	A
	208	132	blank
172	209		A Pavion	[Anon]	1
173	210		[No title]	[Anon]	1
[174]	211-12		Pavin Mr Orlando Gibbons [letters cropped at the top]	[Gibbons]	2	G	Musica Britannica xx no. 16
175	213		[No title]	[Anon]	3	C
176	213		[No title]	[Anon]	2	C
177	214		[No title]	[Anon]	2	G
178	214-15	-131	[No title]	[Anon]	2	G
[179]	216-17	132-33	A Pavion	/Finis Mr Morlie [Byrd]	1		Musica Britannica xxviii no. 60a "Phillippa Tregian"
[180]	218-19	134-35	The Galliard	/Frinis mr Morly [Byrd]	1		Musica Britannica xxviii no. 60b
181	219	135	[No title; "John Jauncy" at the foot of p 219]	[Anon]	3
[182]	220-22	136-38	A Pavion	/Mr Bird [Morley]	1		Fitzwilliam Virginal Book II p. 209
183	222-24	138-40	A Pavion Solus com sola	[Anon: Based on Dowland]	1
184	225	141	Sweet Lusesina le[nd me thine ayde]	[Anon]	1
185	225	141	Coran[to]	[Anon]	2	D
186	226-27	142-143	Amavitt	[Anon: Arr. From Christopher Tye]	1	A
187	227	143	a mask	[Anon]	2	A
188	227	143	[No title]	[Anon]	2	A
189	228	144	[Example of a tuning system]		5
190	228	144	Coran[to] Gyles Tomkins	Gyles Tompkins	2	A
191	228	144	[No title]	[Anon]	2	D

List of music theory software

Programs

Name	Developer	Operating system environment	Latest release	Features
Artusi	Artusi Inc.	web	N/A	Harmony, Fundamentals, Ear-training
Auralia	Rising Software		6	Ear-training
Counterpointer	Ars Nova Software		2.040 (June 28, 2014)	Counterpoint, both species and free
EarMaster	EarMaster	Mac, Win	7	Ear-training; includes some theory
Harmonia	Illiac Software			Theory
Mastering Music	Datasonics			Learning areas include performing, composing, publishing and musicianship
Music Lessons	MiBAC			Ceased operations in 2012
Music Theory Tutor	eMedia Music Corporation	Mac, Win		Theory
Musition	Rising Software		6	Theory
PicardyLearning	Picardy	Mac, Win		Theory and ear-training
Practica Musica	Ars Nova Software	Mac, Win, Linux	6	Theory
Practical Music Theory Know-How	Groove3			Theory; 12 videos
uTheory	uTheory.com			Theory and ear-training

• Artusi - https://www.artusi.xyz
• Auralia - https://www.risingsoftware.com
• Musition6 - https://www.risingsoftware.com/musition
• Harmonia - https://harmonia.illiacsoftware.com/frontpage
• Music Theory Tutor - https://www.emediamusic.com/music-theory-software/music-theory-tutor-complete.html
• EarMaster - https://www.earmaster.com/
• Practica Musica -https://www.ars-nova.com/home6.html
• Counterpointer - https://www.ars-nova.com/home6.html - other programs
• PicardyLearning - https://picardylearning.com/
• uTheory - https://utheory.com/
• Groove 3 - www.groove3.com

• Music Lessons - www.mibac.com (obsolete)
• Mastering Music - https://datasonics.com.au/masteringmusic

Reviews - https://www.choraldirectormag.com/articles/technology/music-theory-ear-training-software-2/

• Essentials of Music Theory - https://www.alfred.com/alfreds-essentials-of-music-theory-ear-training-cds-1-2-combined-for-books-1-3/p/00-17254/ -SUPPLEMENTS BOOKS

Reviews

• https://www.choraldirectormag.com/articles/technology/music-theory-ear-training-software-2/

Joseph Muller

From Internet MUS document:

Born of German-Belgian parents, Joseph Muller (b. Frankfurt-am-Main, 1877?; d. Closter, NJ, May 9, 1939), who started collecting during his student days, studied violin at the Brussels Conservatory, where, as a student of Alexandre Cornélis, he won first prize (with distinction) in July 1895; but his love of travel led him to a career as a ship's steward. During his many travels he sought out print dealers worldwide, adding to his growing collection. He collected music manuscripts and letters in addition to portraits (not surprisingly he was especially attracted to those of string players). His interest in music and collecting led him to do extensive research, making him an authority on early music and early American music in particular. In his 1935 publication The Star-Spangled Banner: Words and music issued between 1814-1864 (New York: G. A. Baker & Co.), Muller compiled an annotated and richly illustrated bibliography, tracing variant early publications of the text and tune of our national anthem.

An amateur artist, Muller drew copies of prints and, to a lesser degree, made portraits from life (usually at the back of a concert hall). Some of these drawings are included in the Muller Collection as well.

Carmella Ponselle

Carmella Ponselle (June 7, 1892—June 13, 1977) was a soprano. She was the elder sister of soprano Rosa Ponselle.

Born in Schenectady, New York. Together with her sister they appeared as the Ponzillo Sisters in 1916-1917. Her serious career began in 1923 singing Amneris in Aida at the Polo Grounds. Her Metropolitan Opera debut began on with a Sunday evening concert on January 11, 1925 where she sang "O don fatale" and the Aida-Amneris duet. Her role debut occurred on December 5, 1925 again in the role of Amneris. Other roles included Santuzza in Cavalleria Rusticana, Laura in La Gioconda in which she appeared with her sister Rosa.

Sources

• Kutsch, K. J.; Riemens, Leo (2003). Großes Sängerlexikon (Vierte, erweiterte und aktualisierte Auflage ed.). München: K. G. Sauer. ISBN 9783598115981.

Herman Lieber

Rabbi and cantor. Held positions in Hamburg, Zurich and New York. Born and educated in Germany, immigrated to tthe United States in 1939.

Was the first rabbi of Congregation Ahavath Torah (founded in 1938). Rabbi until 1959.

Lieber died on February 27, 1981.

Family: Wife: Sary, children Susie, Miriam, Esther.

Drexel 5609

Drexel 5609

Drexel 5609 is a British music manuscript. It is an eighteenth-century collection of seventeenth-century keyboard music compiled from various sources, including British Library Add. ms. 10337 (the Elizabeth Rogers' Virginal Book), Fitzwilliam Museum Music Ms. 168 (the Fitzwilliam Virginal Book), and Elizabeth Plume's Virginal Book. Also included are keyboard arrangements of works composed for other instruments or voices and instruments.

Belonging to the New York Public Library, it forms part of the Drexel Collection, housed in the Music Division of the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

Physical description

The manuscript measures 30.5 x 24 cm.

From RISM: https://opac.rism.info/search?id=000105070&View=rism

Disbound ms., individual leaves separated at the folds and encapsulated in mylar sleeves; the sleeves have been bound into two albums with cloth-covered boards, fastened with screws, each laid into a four-fold conservation box. (A photocopy of the old case, dated September 17, 1936 and now discarded, is laid into the container of album 1.) The ms. contains principally pieces for keyb compiled from various sources, including Elizabeth Rogers Virginal Book, the Fitzwilliam Virginal Book, and Elizabeth Plume's Virginal Book. Also included are arrangements for keyb of pieces composed for other instruments or voices and instruments Score: 278p.

Dating

RISM: 1750-1799

Provenance

In the publication "Popular Music of the Olden Time," William Chappell makes reference to "This tune is in Sir John Hawkins's Transcripts of Music for the Virginals." In a 1967 article John Ward quotes Chappell and adds that it is assumed that this work of Hawkins is Drexel 5609.

It is not known how the manuscript came into the possession of Edward Francis Rimbault. A musicologist and a voracious collector of British manuscripts, it is not surprising that the manuscript would become one of Rimbault's holdings. After his death in 1876, the manuscript was listed as lot 1391 in the 1877 auction catalog of his estate. Purchased for ₤75, the manuscript was one of about 600 lots acquired by Philadelphia-born financier Joseph W. Drexel, who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 5609 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Historical context

• Organization
• Handwriting
• Musical content and style
• Significance

Other content

PMOT = Popular music of olden time

The version of Greensleeves in Drexel 5609 is one of two versions that include a romanesca for the form of both divsions of the song.

John M. Ward noticed the resemblance between the untitled song on page 37 and the song "I would I were in my own country."

Musicologist John Wendland noted that the Renaissance tune Madre non mi far Monaca is associated with many other titles, including The Queen's Almaine which appears in Drexel 5609, page 113.

Issue of meaning of the word "thumpe." It is a form of pizzicato. The piece "Thumpe at my cousin" is in Drexel 56096, pages 134-135. The Queen of Bohemia's Dumpe, page 122.

List of songs

RISM entry for entire volume: https://opac.rism.info/search?id=000105070&View=rism

WooldridgeC 1893 = OEPM = Old English popular music by William Chappell, 1893.

Page	Title	Composer	Add. 10337 Fitzwilliam Virginal Book	Elizabeth Rogers' Virginal Book	Remarks and concordance
1	Sir Tho.s ffairfax Marche	John Tollett		no. 1
1	Nanno maske	Orlando Gibbons		no. 2	Differs only slightly from Orlando Gibbons' "French Alman" in Elizabeth Rogers' Virginal Book
2	Almaygne	anonymous		no. 3
2	or Mountains ever bred &c	anonymous		no. 4	Another tune of "The fairest nymph [!] the valleys" published in WooldridgeC 1893 (section "The earlier ballads") v.1, p. 170-171
3	The Scots March	anonymous		no. 5
3	Prince Ruperts March	anonymous		no. 6	Not the same tune as "Prince Ruppert's march" published in WooldridgeC 1893 (section "Dance tunes") vol.1, p. 317
4	One of y.e: Symphonies	anonymous		no. 7
4	One of the Symphonies	William Lawes			Transcription of one of the symphonies in Lawes' "Triumph of Peace"
5	Selebrand	anonymous		no. 9
5	When the King enjoys his own again Maas: When ye Kinge Inioyeth his owne againe	anonymous	page 252	no. 10	Not the same tune as "When the king enjoys his own again" published in WooldridgeC 1893 (section "The earlier ballads"), where "Elizabeth Rogers Virginal Book" is given as source; see Wooldridge, v.1, p. 210-211
6	Almaygne	anonymous		no. 11
6	A Trumpet tune	anonymous		no. 12
7	Essex last good night	anonymous		no. 13	Entitled "Essex's last Goodnight" in Elizabeth Rogers' Virginal Book; At tail of 2nd system, p.7, outer margin: "Hawkin's Hist. / mentions this tune / vol. V p.17" ;  ; Compare with tune "Essex's last good-night" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 132
7	Almaygne per Tho.s Strengthfield	Thomas Strengthfeild		no. 14
8	The Corrant to y.e last Almaygne per Tho.s Strenthfield	Thomas Strengthfeild		no. 15
9	Ruperts Retreat	anonymous		no. 16
10	Almaygne per Tho.s Strengthfield	Thomas Strengthfeild		no. 17
10	Corrente to y.e former Almaygne per Tho.s Strengthfield	Thomas Strengthfeild		no. 18
10	[no title]	anonymous		no. 19
11	The Nightingale	Henry Loosemore			At head of 1st system, p.11, inner margin: "See / the same / Tune in / [illegible] 21 / AA, 4 / 11"
11	Corrant Beare	anonymous		no. 21
12	Selebrand Beare	anonymous	page 321	no. 22
12	Corrant Beare	anonymous	page 337	no. 23
12	Almaygne	anonymous		no. 24
12	Maas: The Lady Hattens Allmaine	anonymous	page 252
13	Corrant	anonymous		no. 25
13-14	Corrant Beare	anonymous		no. 26
14	Corran[t] Beare	anonymous		no. 27
14-24	The Battaile	William Byrd		nos. 28-39	p.14, outer margin: "Collated from D.r Burney's MS." ; At tail of p.14: "See Hawkin's Hist. Vol 4.th p./ some mention of a similar thing" ; At head of 1st system of The Marche of the horsemen, p.16: "treble octave lower / this part" ; At tail of 5th system, p.14: "the end of / the March to the / horsemen / to come" ; At head of Bagpipes & drone, p.19: "2 treble octave lower" ; At head of 1st system, p.20: "The Drum"  ; 4th measure, p.20: "and Flute / tacet / treble" ; At head of 3rd system, p.20: "thus all / through this part [followed by music incipit]" ; At tail of 3rd system, p.24: "The Victory to come in her[e] / from th other / MS." ; At tail of p.24: "The End of y.e Battell" ;
25	The Soldiers delight	anonymous		no. 40
26	Corrant	anonymous		no. 41
26	Selebrand	anonymous	page 335	no. 42
26-27	A Maske	anonymous		no. 43
27	Corrant	anonymous		no .44
27	Selebrand	anonymous		, no. 45
28	Corrant	anonymous		no. 51
28	Corrant	anonymous		no. 52
29	Maske	anonymous		no. 53
30	Corrant	anonymous		no. 54
30-31	Almaygne	anonymous		no. 55
31	Lupus Ayre	Thomas Lupo		no. 56
32-33	Almaygne M.r Johnson	Orlando Gibbons		no. 58
33	Mock-Nightingale
34	What if the King should come to y.e City	anonymous		no. 60
34-35	The King’s Complaint	anonymous		no. 61
35	Almaygne	anonymous		no. 62
35	[no title]	anonymous		no. 63
36	Selebrand	anonymous		no. 64
36	My Delight	anonymous		no. 65
36	A Selebrand	anonymous		no. 71
37	The ffinex	anonymous		no. 72
37	The spaynard	anonymous		no. 69
37	[no title]	anonymous		no. 70
38	An Irish toy	anonymous		no. 67
38	Almayne	anonymous		no. 68
38-39	A Scots tune	anonymous		no. 66	Same tune as Prince Ruperts March - on page XXX
39	The faithfull Brothers	anonymous		no. 73
39	A Corrant	anonymous		no. 74	from Musick's Handmaid (1678), no. 43
40-41	pipe	anonymous		no. 77
41	Almayne	anonymous		no. 78
42	Corrant per Tho.s Strengthfield	Thomas Strengthfeild		no. 79
42	Selebrand	anonymous		no. 80
43	Almaygne	anonymous		no. 83
43	Almaygne	anonymous		no. 81
43	Corrant [incomplete]	anonymous		no. 82
44	[no title]	anonymous		no. 85
44	Selebrand T.S.	Thomas Strengthfeild		no. 86
45	Love is strange	anonymous		no. 87
45	Glory of y.e North	anonymous		no. 89	Compare with tune "The glory of the north" published in WooldridgeC 1893 (section "Dance tunes"), in which "Elizabeth Rogers Virginal Book" is mentioned as source - Wooldridge 1893, v.1, p. 323
46	Almayne Mercure	John Mercure		no. 88
46-47	[no title]	anonymous		no. 90
47	Merceur	John Mercure		no. 91
47	Corrant	anonymous		no. 91
48	Corrant	anonymous		no. 93
48	Philli Porter's Lamentation	Philip Porter		no. 94
49	As you like it	Henry Loosemore
49	[no title]	Arcangelo Corelli
50-51	The King's hunting Jigg	John Bull			From the "Fitzwilliam Virginal Book" the last variation missing
52	The Czar	anonymous			At tail of p.52, inner margin: "See this Tune / as it was sung in its [illegible] / of the 1.st vol. of vocal songs. / The Szar was introduced in the / opera called The Wonders in the Sun or the Kingdom / of Birds, in July 1706. Composed by Battista Drag[hi] / The Szar of Moscovy came to Englan[d] / A.d. 1697. [struck-through:] Q.ry [?] whether this tune / had any allusion & the Tune / seems to be called after him / [illegible] it bears in / according to [illegible] Country dance Book"
53	Barley Straw	anonymous			At tail of p.52: "Vide Hawkins Vol 4.th / p.427"
53	Packington's Pound	anonymous			Fitzwilliam Virginal Book no.178 , v.1, p. 259; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where Fitzwilliam Virginal Book is mentioned as source
56	Punk's Delight	anonymous
56	The Phoenix	anonymous			At tail of p.56: "There was a - Theatre formerly in Drury Lane London / entitled the Phoenix. about A.D. 1630"
57	[no title]	anonymous
57	The rich Jew	anonymous	page 100 verso
57	Packington's pound	anonymous	page 101 recto		"Fitzwilliam Virginal Book", no.178; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where "Fitzwilliam Virginal Book" is mentioned as source, v.1, p. 259
58-59	The Battell	William Byrd			At tail of 3rd system, p.63: "supleatur Bassus ad hunc modum / et c/ tempore + chordis lotem hanc / partem sine ulla pausa in Basso" ; p.63, outer margin: "Continue the same Bass all through to the pause" ; At tail of p.67, outer margin: "more to the horsemen / should be plaid after th[is] / *" ; At head of p.68, outer margin: "Corrected / from Dr. Burney MS. / from here / half of the next page" ; At tail of 3rd system, outer margin, p.69: "here ends / y.e Battel / by W.m Byrd"
70-71	Churchyards galliard	anonymous	page 100 recto
71	Green sleeves	anonymous	page 101 recto		at tail of p. 71, outer margin: "See Dancing Master / p. 186"
72-76	[no title]	William Byrd
77-78	Galliard	Richard Clarke	page 104 verso		At tail of 6th and 7th measures, p.77: "vide hoc aliter supra ad / hanc nota L / see the same above at the mark L." ; At tail of 3rd system, p.78, inner margin: "Rich.d Clarke"
78-80	Phillida	anonymous
80	[no title]	Richard Clarke	page 108 recto		At tail of 6th system, p.80, inner margin: "R. Cr:"
81-85	Why aske you	John Bull	page 108 verso		At head of p.81: "D.r Bull See End X" ; At tail of 3rd systlem, p.85, outer margin: "D.r / Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book"
85-87	Why aske yee? Paulo aliter A little otherwise	John Bull			Some fingerings indicated (p.86) ; At tail of 1st system, outer margin: "D.r Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book"
87-88	A Toy	John Lugge			At tail of 4th system, p.88: "John Lugge"
88-89	Lachryma	John Dowland	page 115 verso		At head of 5th system, p.88: "See / notes / to Shakespear / Copied"; At tail of 5th measure, p.89: "O.rg. By Dowland / See Hawkins Hist. Vol. III / page 325"
90	The Spanish Pavan	John Bull	page 6 recto		"Fitzwilliam Virginal Book", no.139; Compare with tune "The Spanish pavan" published in WooldridgeC 1893 v.1, page 251 (section "Dance tunes"), where also the "Fitzwilliam Virginal Book" is mentioned as source;
90	The Woode so wilde	William Byrd			Incomplete: Some variations from version in Fitzwilliam Virginal Book (no.67), especially changing the octave in left hand; At head of 3rd system, p.90: "This is in Queen Elizabeth's Book, with variations to it p.7A"
90-91	Excuse mee	anonymous	page 117 verso
91	Farewell deare love	anonymous	page 118 recto
92	Welladay	anonymous	page 118 recto
92	Mal Sims	Giles Farnaby	page 118 verso		At head of last measure, 3rd system, p.92: "vide hoc aliter / post" ; At head of 1st measure, 4th system, p.92: "secunda vice sic" ; At tail of 1st meausre, 4th system, p.92: "2.a vice sic / 2.nd time thus" ; At tail of measures 5-7 of 5th system, p.92: "vide hoc aliter post / see what follows differently" ; At tail of p.92: "2.a vice sic / 2nd time thus" ; Similar to Farnaby's "Mal Sims" in "Fitzwilliam Virginal Book" (no.271)
93	Goe from my window	anonymous			Pencil annotations attribute the piece to John Munday, though there are too many differences from the Munday and Morely settings of this tune to justify the attribution; At head of p.93, outer margin: "In 2.nd Elizabeth's Book. / by John Munday"; Compare with tune "Go from my windows" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 146
94-95	y.e Lady Layton's Allmaine	anonymous	page 120 verso
96-97	Little Pegge of Ramsie Dr. Bull	John Bull			At tail of 1st system, p.97, outer margin: "M.r / D.r Bull"
97	A Toy	Lugge, John			Some fingering indications; At tail of 6th system, outer margin: "M.r / Lugge"
98-99	The merry Cuckold	anonymous	page 123 verso
99	[no title]	anonymous
100	Williams his Allmaine	Williams	page 124 verso
101	Your shining eyes & golden hair	anonymous
101	Away with these self loving lads	John Dowland
102	Come away, come sweet Love	anonymous
102	Now is the Month of Maying	Thomas Morley
102	Good morrow Valentine	anonymous	page 15 recto
103	What if a day or a Month or a year	R. Cr.	page 15 recto
103	Wilsons Wilde	John Wilson			At tail of p.103: "See Page 11 of Playfords Musicks / Delight for y.e [illegible] it is / printed on [illegible] in [illegible]"; At tail of p.103, outer margin: "probably this was the composition / of D.r Wilson, a famous Lutist to / King Charles the first, about the year 1644"
104	Pepper	anonymous
104	Pepper's Black	anonymous			Not the same tune as "Pepper's black" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 290
104-105	A Scottish Jigg	anonymous			At tail of 4th system, p.104: "Suppleatur Bassus ad hunc modum ptotn [?]"
106	Thomas, You cannot	anonymous	page 18 verso		At head of p.106, inner margin: "See the same air in page 53 of this Book. / + in the book of Dances / p.263"; Compare with tune "Thomas, you cannot" published in WooldridgeC 1893, v.2, p.17-18
106-107	Barrow ffaustus dream	anonymous	page 19 recto		At head of 3rd system, p.106: "This is Tune 2.n Elizabeths Book. p.35 in 2A 1"; Fitzwilliam Virginal Book, no.18
107	The Skipping Jigg	anonymous	page 4 recto		Maas: The princes Jegg
108	With my love my life was	anonymous
108-109	Tell me Susan	anonymous	page 23 recto
109	Fortune my foe	anonymous			At tail of p.109, outer margin: "2.d whether this is to / same tune call'd the / Tune of Fortune"
110	Johnson's Galliard	anonymous	page 25 recto
110-113	Welladay	anonymous	page 25 recto
113	Almaine	anonymous
114-115	A Pavine	anonymous	page 27 verso
115	Good Night good rest	anonymous
115	Go to bed & sleep	anonymous
116	April is my Mistress face	Thomas Morley
116-117	Since my Tears	anonymous
117	How is the gentle Season	anonymous
118-119	The fields a broad with spangled flowers	anonymous
119	Trench=more	anonymous	page 32 recto		At tail of p.119: "This is mentioned in Hawkins Vol. IV p.392: - Tune Trenchmore included in Playford's Dancing Master of 1698"; See dance tune "Trenchmore" published in WooldridgeC 1893, v.1, p. 226
120-121	A French Coranto	anonymous	page 33 recto
121	Another French Coranto	anonymous	page 34 recto
122	The Queen of Bohemia's Dumpe	anonymous	page 35 recto		Ward, John M. "he Dolfull Domps" in JAMS summer 1951, p. 111-121
122-123	The Nightingale	Henry Loosemore	page 35 verso
123	The Spanish Gypsie	anonymous			Not the same tune as "The Spanish Gypsy" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 186
123	A Dance	anonymous	page 36 recto
124	[no title]		Acc. To Maas: 37 recto
124-125	The fairest Nymphs the Valleys	anonymous	page 36 verso
125	The Canaries	anonymous	page 37 verso		p.125, inner margin: "The Canaries is also in an old oblong Book called / Short Rules on the Treble Violin. 1679" ; At tail of p.125, outer margin: "There is a Tune called the / Canaries in H. Purcells opera of Diaclasain [?Theodosius?] / but this is not the same air"
126	A Coranto	Henry Loosemore	page 38 recto
126	[no title]	anonymous	page 38 verso
126	Allmayne - acc. To Maas		page 2 recto
127	The fairest Nymphs the Valleys	anonymous
127	[no title] acc. To Maas		page 38 recto
128	[no title]	R. Cr.			At head of 1st system: "see these Bars better below / vide hoc melius infra / port finem ad hanc nota X .L." ; At tail of 3rd system, p.128: "R. Cr: Dec.m 17. / 1635 perge ut supra ad hanc nota .L"
128	Coranto	anonymous
128	Maas: Allmaine		page 336 recto
128-129	The Queens Maske	anonymous
129	The King's morisco	anonymous			At tail of 2nd system, p.129, outer margin: "This is / in 2.nd [illegible] / Book p.398 / See another / in [?illegible? Toellum?]/ MS"
130	[no title]	anonymous	page 46 recto
130	A Scottish Jigge	anonymous	page 46 verso
130-132	A Paven	anonymous	page 46 verso
132-133	The Galliard	anonymous
134	[no title]	anonymous			Almost identical to the beginning of the piece on p.126 of the same ms (entry no.146)
134	A Short Coranto	anonymous
134	Allmayne acc. To Maas				from Res. 1186bis
134-135	Dumpe at my Cozen	anonymous	page 52 verso		Maas call this "Jumpe at my Cozen"
135	My Love Shee dwells not here	anonymous	page 52 verso
136	[no title]	anonymous	page 53 verso
136	[no title]	anonymous
136	Over the Mountains	anonymous	page 54 recto		At tail of p.136: "See, probably the words to the above tune in Ritsons p.t Vol. of Songs p.79"
137	M:rs mine well may you fare	anonymous	page 54 verso
137	Admist the fairest Mountaine toppes	anonymous	page 54 verso
138	[no title]	anonymous	page 55 recto
138	[no title]		page 55 recto		2 untitled works acc. To Maas
138-139	When Daphne did from Phoebus flie	anonymous	page 55 verso
139	When all ye Gods had made a feast		page 56 recto
139	[no title]	anonymous
140	A 1000 Kisses winne my heart from me	anonymous	page 56 verso
140	What if I live for love of thee	anonymous	page 57 recto
141	With my Love my life was nestled	anonymous	page 57 recto
141-142	Troy towne	anonymous	page 57 verso		At tail of p.141, partially cut off: "See the above Song in D.r Wilson's p.t vol. / [illegible]" ; At tail of 7th measure: "vide alias supra / another way above" ; Not the same tune as "Troy town" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 183
142	John come Kiss me now	William Byrd			At tail of 4th system, p.142: "See this in John Playfords Musicks / Delight for the cithern Page 4 / it is a small oblong book + Printed / on 4 [illegible]" ; Fitzwilliam Virginal Book, no.70
142	Now cease my wandering Eyes	anonymous
143	[no title]	anonymous	page 59 verso
143	In sad & ashie weeds	anonymous	page 59 verso		Compare with tune "In sad and ashy weeds I sigh I pine I grieve I mourne" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 156
144	[no title]	anonymous
144-145	The Nightingale	Henry Loosemore	page 62 verso		At head of 5th system, p.144, outer margin: "see p.21, / the same tune / p.11"
145	The Mock=Nightingale	Silver [conjecture]			At tail of 6th system, p. 145: M.r Silver
146	The Lady Weston's Allmaine	anonymous	page 64 recto
146	Say pretty wanton	anonymous	page 64 recto
146-147	My Lord Willbee's welcome home	anonymous			x / in another / Copy" ; At tail of last measure, p.146, inner margin: "oct lower" ; Compare with tune "Lord Willoughby's welcome home" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 152
148	A Coranto	Richard Leveridge [conjectured]	page 65 verso		At tail of 4th system, p.148: "M.r Lever [= Leveridge?]"
148	A Lute Lesson	anonymous	page 66 recto
149	Who dare say y.t I lay with her	anonymous
149	Shee rould it in her Apron	anonymous
150	Can you not hitt it my good man?	anonymous	page 67 verso
150	The netherland	anonymous	page 68 recto
150-151	I gott y.e Coate	anonymous	page 68 verso
151	Tutte Venite ornati	anonymous	page 69 verso		transcription of Gastold, Balletti a cinque (1591)
152	Vezzosette Nymphe belle &c.	R. Cr.	page 69 verso		At tail of 3rd system, inner margin: "R. Cr"
152	[no title]	anonymous	page 70 verso
153	Thomas, you cannot	anonymous	page 71 verso		At head of p.153, outer margin: "See this amoung my Songs"  ; Not the same tune as "Thomas, you cannot" published in WooldridgeC 1893, v.2, p. 17-18
153	Open y.e door to three	anonymous	page 71 verso
154	ffaire maide are you walking	anonymous	page 72 recto		At head of first system, p.154, outer margin: "Light's Love"
154	[no title]	anonymous	page 78 recto
155	A Voluntaire M.r Gibbons	Christopher Gibbons [ascertained]
155	The revolto	anonymous
156	The Bells of Osney	anonymous			At head of p.156, inner margin: "See another in Book / with brown paper Cover" ; At tail of 2nd system, p.156: "Formerly the 6 Bells of Osney abbey near Ox[ford] / were very famous for their musical sound. Their names w[ere] / Douce, Clement, Austin, Hamtecter [?] (potius Hantcleri [?]) / Gabriel, & John. / Hearns Collection of Disco [?] / by Antic [?] names Numb XI. / + Hawkins Hist. Book IV, p.[illegible]"
156	The Bells of Osney	anonymous			At 3rd system, p.156, struck-through, outer margin: "in the County / of Oxford"
156	The Morris	anonymous	page 92 verso
156	Q. M. Dumpe	anonymous			Incomplete: Illegible inscription at head of 5th system, p.156, outer margin
157	Love lyes a bleeding	anonymous			At head of p.157: "all these are from a MS. Book of Elizabeth Plume Virginal Book dated July 20.th / 1695"
157	The King's trumpet tune	anonymous			At head of 3rd system, p. 157: "Delight"
158	The Duke of Yorkes hornepipe	anonymous
158	Gen: Moncks March	anonymous
159	Moncks Countrye-Daunce	anonymous
159	The Lady Carews Daunce	anonymous
160	Parthenia	anonymous			Caption title, struck though: "The Kind's Delight" ; Included in Playford's Musick's hand-main (1663, 1668, 1678) ; Compare with tune "Parthenia" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 295
160-161	Kin Charles his March from Dover	anonymous			At tail of p.160: "See a particular account of K. Charles 23.d Journey from / dover to Whitehall, in A.d. 1660, in the Harkian Miscellany / Volume III. p.357"
161	The Kings welcome to White Hall	anonymous			At head of 2nd system, p.161, outer margin: "Q.ry Charles the 2.nd" ; At tail of 5th system, p.161, outer margin: "See what Kings lived at / Whitehall / See Hawkins Hist. / Vol IV. P. 546" ; At tail of p.161: "Whitehall was the town residence of our princes / from Henry VIII. down to William + Mary"
162	The Nightingale	Loosemore, Henry			At head of first system, p.162, outer margin: "See / page 21. / 44 + p.11"
163	A Minuet	anonymous
165	Barrels Sabel	anonymous			At head of p.165, outer margin: "These are Copied from / a Quarto MS. without a Cover"
165	[no title]	anonymous			The piece has been struck-through
166	Finger's Sabel	anonymous
167	[no title] [Bonduca, excerpts; arr - The British heroine, Excerpts]	Henry Purcell			At tail of 4th system, p.167: "Io. Armes"; see Zimmermann, 574 / 3
168	Cannary M.r Hen: Purcell	Henry Purcell			The music is a keyboard arrangement of the "Third act tune" in "The Indian Queen"; see Zimmermann, p. 360
168	Rogadon
169	Hornpipe	Henry Purcell			Arrangement of The Hornpipe in Abdelazer
169	Trumpet Minuet	Henry Purcell			Attrib to Purcell; see Zimmerman p. 426
173	Jigge	William Lawes
173	Sir Edw. d Golding K.t. Almaine				At tail of p.173: "These two sheets are transcribed from the Court airs, printed by Playford in 1655"
174	Country Dance	Edward Golding
174	M.r W.m Laws Temple Mask	William Lawes
175	Jigg M.r W.m Gregory	William Gregory
175-176	[no title]	Silas Taylor
176-177	[no title]	Silas Taylor
177	Pavan Almaine M.r John Carwarden	John Carwarden
178	Almaine Mr. John Carwarden	John Carwarden
178	J. Carrwarden Coranto	John Carwarden
179	Coranto	John Carwarden
179	Saraband M.r John Carwarden
180	Jigge M.r John Carwarden
181	A Toy	Henry Loosemore
182	A Toy	Henry Loosemore
182	A Toy	Henry Loosemore
184	The Hurdy Gurdy	anonymous			Dance steps pasted in
185	The Scotch King’s March	anonymous			At head of p. 185: "Copied from an ancient MS. / written on a six lined staff"
185	The King of France’s Dance	anonymous
187	Excuse me				Page 187: “from a printed Country Dance Book”
187	Green sleeves	anonymous	page 101
188	Mad Robin	anonymous			Probably the tune "Mad Robin" published in WooldridgeC 1893 v.2, p. 56
188	Mad Moll	anonymous			Simliar to the tune "Mad Moll" or "The virgin queen" published in WooldridgeC 1893, v.2, p. 74
188	Moll Peatly	anonymous			At head of 5th system, p.188: "See also the same tune in Durfey's Pills [?] Vol. 2 p.46"
189	Of Noble Race was Shinkin	anonymous
189	Parson upon Dorothy	anonymous
189	Rummer	anonymous
190	The Knott	anonymous
190	Buff Coat	anonymous			Compare with similar tune "The Buff Coat has no fellow" published in WooldridgeC 1893, v.2, p.1
191	Bobbing Joe	anonymous			Compare with tune "Bobbing Joe" published in WooldridgeC 1893, v.1, p.312
191	Cheshire Rounds	anonymous
191	Anfield Common	anonymous
192	Hunt the Squirrel	anonymous
192	Joan Sanderson, or the Cushion Dance	anonymous			Extensive notes: https://opac.rism.info/search?id=000105324
194	Joan’s Placket	anonymous
194	Newmarket	anonymous
195	New Market (Second Part)	anonymous

Works consulted

• Brookes, Virginia (1996). British Keyboard Music to c.1660: Sources and Thematic Index. New York: Oxford University Press. ISBN 9780198164258.
• Maas, Martha (1974). English Pastime Music, 1630-1660: an Anthology of Keyboard Pieces. Madison, WI: A-R Editions. ISBN 978-0-89579-049-1.
• Maas, Martha (1968). Seventeenth-Century English Keyboard Music (PhD). Yale University. OCLC 271103325.
• Mangsen, Sandra (2016). Songs Without Words: Keyboard Arrangements of Vocal Music in England, 1560-1760. Rochester, NY: University of Rochester Press. ISBN 978-1-58046-549-6.
• "RISM Online Catalog". opac.rism.info. Répertoire International des Sources Musicales. Retrieved 8 April 2018.
• Ward, John M. (1967), "Apropos "The British Broadside Ballad and Its Music"", Journal of the American Musicological Society, 20, no. 1, University of California Press on behalf of the American Musicological Society: 28–86

External links

• NYPL catalog record
• RISM catalog record

{{Baroque music manuscript sources

[[Category:18th-century manuscripts [[Category:Baroque music manuscript sources [[Category:English manuscripts [[Category:Manuscripts in the New York Public Library [[Category:Music anthologies

Marya Freund

Sources

• Kutsch-Riemens
• Alain Paris, Dictionnaire des interpretes : et de l'interpretation musicale au XX siecle. JMC 83-97 OFFSITE
• Jacques Burdet.
• Variety obits
• Algemene muziek encyclopedie JMN 80-24
• Kurzgefasstes Tonkunstler Lexikon JMM 77-37 OFFSITE
• Ruch Muzyczny *ZAN-*M185
• Zenei lexikon JMD 01-9 OFFSITE

Article

Marya Freund (12 December 1876—21 May 1966) was a German soprano.

She was born in Breslau. She studied violin with Pablo de Sarasate and with Ivan Zajc. She studied voice with Julius Stockhausen, Raimund von zur-Mühlen and Ernesto Colli. She made her debut in 1909. She made concert tours of Europe and the United States. She appeared with the Leipzig Gewandhaus under Artur Nikisch, the Concertgebouw under Willem Mengelberg, the Boston Symphony Orchestra under Pierre Monteux, as well as conductors Gabriel Pierne, Wilhelm Furtwängler, Hermann Scherchen and others. She was known for Lieder interpretations as well as for pioneering contemporary music. She was particularly tied to the music of Arnold Schoenberg. She created the part of the Waldtaube in the first performance of Gurre-Lieder and was well-known for her interpretation of Pierrot Lunaire as as The Book of the Hanging Gardens as well as the soprano solo in the String_Quartets_(Schoenberg)#String_Quartet_No._2. She sang the Waldtaube again in the Viennese premiere in 1914 as well as in the French premiere in 1927 (singing the part in French). She appeared in Spain, Italy, Denmark and Austria. She sang Erik Satie's Socrate in Paris in 1925. She also sang works by Ernest Bloch, Zoltan Kodaly, Darius Milhaud, Alfredo Casella, Karol Szymanowski, Francis Poulenc, Ildelbrando Pizzetti, Serge Prokofiev, Georges Auric and Gian Francesco Malipiero. For many years she taught singing in Paris where she taught a course in the interpreation of classic, romantic and modern music. She taught masterclasses at Lausanne. Her son was bass Doda Conrad (born in 1905).

Fred S. Stone

See fr. wikipedia.org

Tom Martelle

Drag performer - appears on 1923 sheet music.

Judson Hall

Judson Hall was a medium sized concert call located at 165 West 57th Street in New York City.

The former name of the hall was Carl Fischer Hall. The building was owned by the Carl Fischer publishing company. It was sold to Columbia Artists Management in 1959. It was renamed Judson Hall in honor of Arthur Judson, long-time head of Columbia Artists Management.

Drexel 5061

Drexel 5061

Drexel 5469

Drexel 5469
Also known as	Henry Loosemore's Organ-Book

External links

• Early English Church Music Primary Source Database

Music Theory

• "An area of study that tends to focus on musical materials per se, in order to explain (and/or offer generalizations about) their various principles and processes. It investigates how these materials function (or, in a more speculative vein, how they might function), so that musical “structure” can be better understood. More broadly, in the United States, music theory refers to an academic discipline with a dual focus on research and pedagogy. Regarding the latter, especially at the undergraduate level (and earlier), theory is often coterminous with a program for teaching a variety of skills, from the rudiments of melody and rhythm, to harmony, counterpoint, and form (along with their attendant “ear training” or aural perception). Related to but standing apart from these fundamentals of praxis are the various research areas of modern theory, as described under §5 below. It should be noted that music analysis plays a major role in this agenda. Although conceptually separate from theory, in that analysis often focuses on the particulars of a given composition whereas theory considers the broader systems that underlie many such works, in practice the two have a reciprocal relationship." - David Carson Berry, Grove/Oxford Music Online.

• "Music theory is part of the written language of music. It is the written word of this aural art, music. It is not something only intended for music students. We don't have to use it only to analyze a Bach fugue. It is a living part of all music...Music is a language. It has its own vocabulary....One point I like to make to my students is that they need to have the ability to communicate with the rest of the free world. This means using the same nomenclature all musicians use." -- Harry Miedema. Intro to: Michael Miller, The Complete Idiot's Guide to Music Theory 2nd edition, New York: Alpha PUblishing/Penguin, 2005.

• Goethschius "the only well-known American music theorist of his generation. That was partly because music theory as a scholarly discipline did not establish itself in the United States until much later. Early twentieth-century college music majors studied "harmony" and "keyboard harmony" rather than theory; and sight-singing was taught as a separate course called "solfeggio."

-John David White, Guidelines for College Teaching of Music Theory (Metuchen, N.J.: Scarecrow Press, 1981), p. 2-3.

https://books.google.com/books?id=eGZRT6WYQDQC&lpg=PP1&dq=%22music%20theory%22&pg=PA3#v=onepage&q=%22music%20theory%22&f=false

Enharmonic

from: Stefan Kostka, Dorothy Payne, Byron Almén, Tonal Harmony: With an Introduction to Twentieth-Century Music. 7th edition. New York: McGraw-Hill, 2013. ISBN 9780078025143

Page 647:

• Enharmonic: Notes that have the same pitch but are spelled differently. Keys can be enharmonic as well.
• Enharmonic Modulation: A modulation in which a chord common to both keys is reinterpreted enharmonically to fit into the new key. The chord can be spelled to fit into either key, and it must be able to be heard as a sensible chord in both keys.
• Enharmonic Reinterpretation: Technique of treating a chord as if it were spelled in a different key as part of a modulation.
• Enharmonic Spelling: Writing a note as its enharmonic equivalent. Technique used by composers to indicate clearly the direction in which a pitch will move, and to make the music easier for the performer to read.
• Enharmonically Equivalent Keys: Keys that sound the same but are spelled differently.

Page 393:

Drexel 5871

Drexel 5871 (called the Drexel Manuscript by a few CD releases) is a manuscript containing Karl Friedrich Abel's 27 pieces for viola da gamba (as well as other works). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

Works consulted

• Catalogue of the valuable library of the late Edward Francis Rimbault, comprising an extensive and rare collection of ancient music, printed and in manuscript...which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days, London: Sotheby, Wilkinson & Hodge, 1877, p. 89, item 1361
• Hughes, Charles W. (July 1944), "The Music for Unaccompanied Bass Viol", Music & Letters, 25 (3): 160{{citation}}: CS1 maint: year (link)
• Knape, Walter (1993), 27 pieces for the viola da gamba : New York Public Library MS Drexel 5871, Facsimile series for scholars and musicians, vol. 21, Peer, Belgium: Alamire, p. 3, ISBN 9068530798

Elizabeth Seguin

Elizabeth Seguin (10 July 1812—14 January 1870) was an English soprano opera singer.

Sara Smythe

Born Elizabeth Eleanor Seguin. Father was Ralph Arthur Seguin, mother was Sarah. baptised 2 October 1816 at Saint Mary-St Marylebone Road,St Marylebone,London

birth/death dates and location. She was born and died in London. Soprano. Sister of Arthur Edward Seguin, bass (wife: Anne Seguin-Childe) and William Henry Seguin, bass (wife: Miss Gooch).

Seguin married the Wallachian boyar Demetrius Parepa, Baron Georgiades de Boyescu of Bucharest. Their daughter was Euphrosyne Parepa-Rosa who married Carl Rosa (1842-1889).

Kutsch-Riemens: z

Seguin died at her home at 10 Warwick-crescent Paddington, Middlesex, London, leaving an estate of less than 4,000 pounds.

Cowden

Cowden	Name	Title	Place	Publisher	Date	Remarks
1	Johannes Tinctoris	Terminorum musicae diffinitorium	Treviso	Gerardo de Lisa	Ca. 1473
2	John Hothby	[multiple manuscripts]	[n.p.	[n.p.]	Ca. 1430-1487
3	Bartolomeus Ramos de Pareia	Musica practica	Bologna	Enrico de Colonia	1482
4	Nicolo Burzio	Musices opusculum	Bologna	Ugo Ruggeri [Benedetto]	1487
5	Franchinus Gaffurius	Practica musice	Milano	Guillaume Le Signerre [G. Pietro da Lomzazzo]	1496
6	Stapulensis Jacobus Faber	Musica libris demonstrata quattuor	Paris	Johann Higman & Wolfgang Hopyl	1496
7	Gregor Reisch	Margarita philosophica	Freiburg	Johannes Schott	1503
8	Arnolt Schlick	Spiegel der Orgelmacher und Organisten	[Speyer]	Peter Drach	1511
9	Sebastian Virdung	Musica getutscht und auszgezogen	Basel	[M. Furter]	1511
10	Andreas Ornithoparchus	Musicae activae micrologus	Leipzig	Valentin Schumann	1517
11	Giovanni Spataro	Dilucide et probatissime demonstratione	Bologna	Hieronymus de Benedictis	1521
12	Pietro Aaron	Toscanello de la musica	Venezia	Bernardino et Matheo de Vitale	1523
13	Martin Agricola	Musica instrumentalis deudsch, ynn welcher begriffen ist, ...	Wittenberg	George Rhau	1529
14	Lodovico Fogliano	Musica theorica	Venezia	G.A. [Nicolini]	1529
15	Hans Gerle	Musica Teusch auf die Instrument der grossen unnd kleinen Geygen auch Lautten...	Nürnberg	Jronimus Formschneider	1532
16	Giovanni Maria Lanfranco	Scintille di musica	Brescia	Lodovico Britannico	1533
17a	Sylvestro di Ganassi dal Fontego	Opera intitulata Fontegara	Venezia	[l'autore]	1535
17b	Sylvestro di Ganassi dal Fontego	Regola Rubertina	Venezia	[l'autore]	1542
18	Heinrich Glarean	Dodecachordon	Basel	Heinrich Petri	1547
19	Adrianus Petit Coclico	Compendium musices	Nürnberg	Johann Berg, Ulrich Neuber	1552
20	Diego Ortiz	Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones	Roma	Valerio Dorico	1553
21	Juan Bermudo	Comiença el libro llamado declaracion de instrumentos musicales	Ossuna	Juan de Leon	1555
22	Nicola Vincentino	L'antica musica ridotta alla moderna prattica	Roma	Antonio Barre	1555
23	Hermann Finck	Practica musica	Wittenberg	Georg Rhaus Erben	1556
24	Gioseffo Zarlino	Le institutioni harmoniche	Venezia	[no publisher]	1558
25	Tomás de Santa Maria	Libro llamado, arte de tañer fantasia	Valladolid	F. Fernandez de Cordova	1565
26	Francisco de Salinas	De musica libri septem	Salamanca	Mathias Gast	1557
27	Vincenzo Galilei	Diolog della musica antica	Firenze	Giorgio Marescotti	1581
28	Girolamo Dalla Casa	Il vero modo di diminuir	Venezia	Angelo Gardano	1584
29	Giovanni Maria Artusi	L'arte del contraponto ridotta in tavole	Venezia	Giacomo Vincenzi et Ricciardo Amadino	1586
30	Orazio Tigrini	Il compendio della musica nel quale brevemente si tratta dell'arte del contrapunto, diviso in quatro libri	Venezia	Ricciardo Amadino	1588
31	Thoinot Arbeau	Orchésographie et traité en forme de dialogue	Langres	Jehan des Près	1588
32	Sethus Calvisius	Melopoeia sive melodiae condendae ratio	Erfurt	Georg Baumann	1592
33	Ricardo Rognoni	Passaggi per potersi essercitare nel diminuire terminatamente con ogni sorte di instromenti, et anco diversi passaggi per la semplice voce humana	Venezia	Giacomo Vincenti	1592
34	Lodovico Zacconi	Prattica di musica	Venezia	Girolamo Polo	1592
35a	Girolamo Diruta	Il Transilvano dialogo sopra il vero modo di sonar organi, & istromenti da penna	Venezia	Alessandro Vincenti	1593
35b	Girolamo Diruta	Seconda parte del Il Transilvano dialogo diviso in quattro libri	Venezia	Alessandro Vincenti	1609
36	Ercole Bottrigari	Il Desiderio overo de' concerti di varii strumenti musicali, dialogo di Alemanno Benelli	Venezia	Ricciardo Amadino	1594
37	Giovanni Battista Bovicelli	Regole, passaggi di musica, madrigali et motetti passerggiati	Venezia	Giacomo Vincenti	1594
38	Thomas Morley	A Plaine and Easie Introduction to Practicall Musicke	London	Peter Short	1597
39	Joachim Burmeister	Hypomnematum musicae poeticae	Rostock	Stephan Myliander	1599
40	Giulio Romolo Caccini	Le nuove musiche	Firenze	Marescotti	1601
41	Girolamo Mei	Discorso sopra la musica antica e moderna	Venezia	Gio. Battista Ciotti	1602
42	Agostino Agazzari	Del sonare sopra'l basso con tutti li stromenti e dell'uso loro nel conserto dell'ill	Siena	Domenico Falcini	1607
43	Johannes Lippius	Synopsis musicae novae omnino verae atque methodicae universae	Strasbourg	Carl Kieffer	1612
44	Pietro Cerone	El Melopeo y maestro: Tractado de musica theorica y pratica	Napoli	Juan Batista Gargano y Lucrecio Nucci	1613
45	Johannes Nucius	Musices poeticae sive de compositione cantus	Neisse	Crispinus Scharffenberg	1613
46	Michael Praetorius	Syntagma musicum ex veterum et recentiorum ecclesiasticorum autorum lectione	Wolfenbüttel	Elias Holwein	1614/1615
			Wittenberg	Johann Richter
47	Salomon de Caus	Institution harmonique divisée en deux parties	Frankfurt am Main	Jan Norton	1615
48	Joachim Thüringus	Opusculum bipartitum de primordiis musicis	Berlin	Georg Runge	1624
49	Adriano Banchieri	Armoniche conclusioni nel suono dell'organo	Bologna	Girolamo Mascheroni	1626
50	Giovanni Battista Doni	Compendio del trattato de' generi de de' modi della musica	Roma	Andrea Fei	1635
51	Marin Mersenne	Harmonie universelle, contenant la théorie et la pratique de la musique	Paris	Sébastien Cramoisy	1636
52	Charles Butler	The principles of musik, in singing and setting: with the two-fold use thereof, (ecclesiasticall and civil)	London	John Haviland for the author	1636
53	Johann Andreas Herbst	Musica practica sive instructio pro symphoniacis	Nürnberg	Jeremias Dümler	1642
54	Marco Scacchi	Breve discorso sopra la musica moderna	Warszawa	Peter Elert	1649
55	Athanasius Kircher	Musurgia universalis sive ars magna consoni et dissoni in X libros digesta	Roma	Eredi di Francesco Corbelletti	1650
				Ludovico Grignani	1650
56	Marcus Meibom	Antiquae musicae auctores septem	Amsterdam	Ludovic Elzevir	1652
57	John Playford	A breefe introduction to the skill of musick for song and violl	London	John Playford	1654
58	Christoph Bernhard	Tractatus compositionis augmentatus	[only in ms.]
59	Giovanni d'Avella	Regole di musica, divise in cinque trattati	Roma	Francesco Moneta	1657
60	Christopher Simpson	The division-violist: or, an introduction to the playing upon a ground	London	William Godbid [John Playford]	1659
61	Giovanni Andrea Bontempi	Nova quatuor vocibus componendi methodus	Dresden	Seyffert	1660
62	Lemme Rossi	Sistema musico overo musica speculativa	Perugia	Angelo Laurenzi	1666
63	Leone Allacci	Drammaturgia di Leone Allacci, divisa in sette indici	Roma	Mascardi	1666
64	Bénigne de Bacilly	Remarques curieuses sur l'art de bien chanter	Paris	L'auteur et [Robert] Ballard	1668
65	Lorenzo Penna	Li primi albori musicali per li principianti della musica figurata	Bologna	Giacomo Monti	1672
66	Thomas Mace	Musick's Monument; or a remembrancer of the best practical musick, both divine and vicil, that has ever been known, to have been in the world	London	T. Ratcliffe & N. Thompson	1676
67	Wolfgang Caspar Printz	Phrynis (Mytilenaeus) oder Satyrischer Componist	Quedlinburg	Christian Okel	1676-1677
68	Andreas Werckmeister	Orgel-Probe	Frankfurt und Leipzig	Theodor Philipp Calvisius	1681
69	Daniel Speer	Grund-richtiger, kurtz, leicht und nöthiger Unterricht der musicalischen Kunst	Ulm	Georg Wilhelm Kühne	1687
70	Matthias Henriksen Schacht	Musicus danicus eller Danske sangmester	[manuscript]		1687
71	Angelo Berardi	Miscellanea musicale	Bologna	Giacomo Monti	1689
72	Giovanni Andrea Bontempi	Historia musica, nella quale si ha piena cognitione della teorica, e della pratica antica della musica harmonica	Perugia	I. Costantini	1695
73	Thomáš Baltazar Janovka	Clavis ad thesaurum magnae artis musicae	Praha	Georg Labaun	1701
74	François Raguenet	Paralèle des Italiens et des François, en ce qui regarde la musique et les opéra	Paris	Jean Moreau	1702
75	Sébastien de Brossard	Dictionnaire de musique, contenant une explication des terms grecs, latins, italians, et françois les plus usitez dans la musique	Paris	Christophe Ballard	1703
76	Jean Laurent Le Cerf de la Viélle	Comparison de la musique italienne et de la musique français	Bruxelles	François Foppens	1704
77	Zaccaria Tevo	Il musico testore	Venezia	Antonio Bortoli	1706
78	Jacques Bonnet	Histoire de la musique, et des effets, depuis son origine jusqu'à present	Paris	Jean Cochart, Etienne Ganeau, Jacque Quillau	1715
79	François Couperin	L'art de toucher le clavecin	Paris	L'auteur	1716
80	Bendetto Giacomo Marcello	Il teatro alla moda o sia metodo sicuro e facile per ben comporre	Venezia	Aldiviva Licante	[ca. 1720]
81	Alexander Malcolm	A Treatise of Musick: Speculative, Practical and Historical	Edinburgh	For the author	1721
82	Jean-Philippe Rameau	Traité d'l'harmonie réduite à ses principes naturels	Paris	Jean-Baptiste-Christophe Ballard	1722
83	Pier Francesco Tosi	Opinionì de' cantori antichi, e moderni o sieno osservazioni sopra il canto figurato	Bologna	Lelio dalla Volpe	1723
84	Johann Joseph Fux	Gradus ad Parnassum	Wien	Johann Peter van Ghelen	1725
85	Johann David Heinichen	Der General-Bass in der Composition, oder, neue und gr:undliche Anweisung	Dresden	Bey den Autore [Freiberg: Christoph Matthaeus]	1728
86	Johann Mattheson	Johann Matthesons Grosse General-Baß-Schule, Oder der exemplarischen Organisten-Probe	Hamburg	Johann Christoph Kissner	1731
87	Johann Gottfried Walther	Musicalisches Lexicon oder musicalische Bibliothec	Leipzig	Wolffgang Deer	1732
88	Michel Pignolet de Montéclair	Principes de musique. Divisez en quatre parties	Paris	Veuve Boivin	1736
89	Johann Adolph Scheibe	Der Critische Musicus	Hamburg	Thomas von Wierings Erben	1738
90	Johann Mattheson	Der Vollkommene Capellmeister. Das ist gründliche Anzeige aller derjenigen Sachen, die einer wissen, können und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will	Hamburg	Christian Herold	1739
91	Leonard Euler	Tentamen novae theoriae musicae ex certissimis harmoniae principiis dilucide expositae	Petropoli	Typographia Academiae scientiarum	1739
92	Lorenz Christoph Mizler von Kolof	Neu eröffnete Musikalische Bibliothek oder Gründliche Nachright nebst unpartheyischem Urtheil von musikalischen Schriften und Büchern	Leipzig	Im Verlag des Verfassers und Brauns Erben	1739
93	James Grassineau	A Musical Ditionary; being a collection of terms and characters, as well ancient as modern	London	J. Wilcox	1740
94	Francesco Geminiani	The Art of Playing on the Violin: Containing all the Rules Necessary to attain to a perfection on that instrument	London	The author [printed by John Johnson[	1751
95	Johann Joachim Quantz	Versuch einer Anweisung die Flöte traversiere zu spielen	Berlin	Johann Friedrich Voss	1752
96	Jean le Rond d'Alembert	Elémens de musique, théorique et pratique, suivant les principes de M. Rameau	Paris	David l'ainé, Le Breton, Durand	1752
97a	Carl Philipp Emanuel Bach	Versuch über die wahre Art das Clavier zu spielen, mit Exempeln und achtzehn Probe-Stücken in sechs Sonaten erläutert	Berlin	Christian Friedrich Henning	1753
97b	Carl Philipp Emanuel Bach	Zweyter Theil, in welchem die Lehre von dem Accompagnement und der freyen Fantasie abgehandelt wird	Berlin	George Ludewig Winter	1762
98	Friedrich Wilhelm Marpug	Abhandlung von der Fuge, nach den Grundsätzen und Exempeln der besten deutschen und ausländischen Meister entworfen	Berlin	A. Haude, und J.C. Spener	1753-1754
99	Friedrich Wilhelm Marpug	Historisch-kritische Beyträge zur Aufnahme der Musik	Berlin	J.J. Schützens Witwe [G.A. Lange]	1754
100	Giuseppe Tartini	Trattato di musica secondo la vera scienza dell'armonia	Padova	Stamperia del seminario [Giovanni Manfrè]	1754
101	Francesco Algarotti	Saggio sopra l'opera in musica	[n.p.]	[n.p.]	1755
102	Leopold Mozart	Versuch einer gründlichen Violinschule, entworfen und mit 4. Kupfertafeln sammt einer Tabelle versehen	Ausburg	Verlag des Verfassers [Johann Jacob Lotter]	1756
103	François Parfaict, Claude Parfaict	Dictionnaire des Théâtres de Paris	Paris	Chez Lambert	1756
104	Giovanni Battista Martini	Storia della musica	Bologna	Lelio dalla Volpe	1757
105	Jakob Adlung	Anleitung zu der musikalischen Gelahrtheit	Erfurt	J.D. Jungnicol	1758
106	John Mainwaring	Memoirs of the life of the late George Frederic Handle. To which is added, a catalogue of his works, and observations upon them	Londond	R. & J. Dodsley	1760
107	Georg Andreas Sorge	Anleitung zur Fantasie oder zu der schönen Kunst	Lobenstein	Verlag der Verfasser	1767
108	Jakob Adlung	Musica Mechanica organoedi. Das ist: Gründlicher Unterricht von der Struktur, Gebrauch und Erhantung etc. der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente	Berlin	Friedrich Wilhelm Birnstiel	1768
109	Jean-Jacques Rousseau	Dictionnaire de musique	Paris	Vve. Duchesne	1768
110	Giovanni Battista Mancini	Pnsieri, e riflessioni pratiche sopra il canto figurato	Wien	Stamparia van Ghelen	1774
111	Antonio Eximeno y Pujades	Dell'origine e delle regole della musica, colla storia del suo progresso, decadenza e rinnovazione	Roma	Stamperia Michel'Angelo Barbiellini	1774
112	Martin Gerbert	De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus		Typis San Blasianis	1774
113	Vincenzo Manfredini	Regole armoniche o sieno precetti ragionati per apprendere I principi della musica	Venezia	Guglielmo Zerletti	1775
114	Charles Burney	A General History of Music from the Earliest Ages to the Present Period. To which is prefixed, a Dissertation of the Music o the Ancients	Londond	For the aAuthor and sold by T. Becker, J. Robson, and G. Robinson	1776, 1782, 1789
115	John Hawkins	A General History of the Science and Practice of Music	London	T. Payne and Son	1776
116	François Bédos de Celles	L'art du facteur d'orgues	Paris	L.F. Delatour	1766, 1770, 1778
117	Jean-Benjamin La Borde	Essaid sur la musique ancienne et modern	Paris	Ph.D. Pierres	1780
118	Heinrich Christoph Koch	Versuch einer Anleitung zur Composition	Leipzig	Adam Friedrich Böhme	1782, 1783, 1793
			Rudolstadt	Löwe Erben und Schirach	1782, 1783, 1793
119	Esteban de Arteaga	Le rivoluzioni del teatro musicale italiano della sua origine fino al presente	Bologna	Carlo Trenti	1783, 1785, 1788
120	Johann Nicolaus Forkel	Allgemeine Geschichte der Musik	Leipzig	Im Schwickertschen Verlage	1788, 1801
121	Ernst Ludwig Gerber	Historich-Biographiches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Compositen, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher, enthält	Leipzig	Johann Gottlob Immanuel Breitkopf	1790, 1792
122	Johann Nicolaus Forkel	Allgemeine Litteratur der Musik oder Anleitung zur kenntniß musikalischer Bücher, welche von den ältesten bis auf die neusten Zeiten bey den Griechen, Römern und den meisten neuern europäischen Nationen sind geschrieben worden	Leipzig	Schwickertschen Verlage	1792

La solita forma

From the article

La solita forma (or multipartite form) is an operatic term used to define the formal design of scenes in 19th century Italian opera from the bel canto era of Rossini, Bellini, Gaetano Donizetti to the late operas of Giuseppe Verdi. The English phrase "multipartite form" is most often used by American musicologist Philip Gossett, beginning with a 1974 essay, where he refers to a general framework of melodramatic scene types, especially duets. Each scene gradually progresses from an opening static lyric moment to a finale through several standard musical tempos and set pieces, gradually adding characters and adding or unraveling complexity in the plot.

Because composers wrote operas in short spans of time, the standardized form of scenes ensured a time-tested dramatic and musical structure. The term itself comes from a work of criticism by Abramo Basevi

Recomposed lead

Background

For each genre there developed certain rules about internal structure, rules that could be observed, bent, or broken, but which composers and librettists recognized.

the most basic division was between poetry intended for recitative and that intended for formal numbers.

Italian prosody

The most basic division was between poetry intended for recitative and that intended for formal numbers. An Italian settenario is not really a “seven-syllable” line of verse, since it can have six, seven, or eight syllables, depending on whether the line is:

• (a) tronco (concluding with an accented syllable, a so-called masculine ending, hence six syllables);
• (b) piano (the form according to which the poetic meter is measured, concluding with an accented syllable and an unaccented one, a so-called feminine ending, hence seven syllables); or
• (c) sdrucciolo (concluding with an accented syllable and two unaccented syllables, hence eight syllables).

Notice that, in Italian verse, the final vowel of one word and the first of the next elide and are considered a single syllable: hence “[fe]-ste al,” “Se i,” and “[gl̓oc]-chi il” are counted as single syllables. Similar considerations affect senari, ottonari, decasillabi, and endecasillabi verses (“six,” “eight,” “ten,” or “eleven” syllables, respectively, but which can normally exist in tronco, piano, or sdrucciolo forms).

Verses for recitative were written in what is known as versi sciolti, poetry consisting of endecasillabi and settenari freely mixed, with only an occasional rhyme. A single line of poetry could be assigned to a single character, or divided among several characters, and grammatical units might well run on from one verse to the next.

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.

The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.

That does not mean, however, that recitative verse, versi sciolti, can never be set lyrically. Indeed, one of the ways in which the operas of the generation of Bellini and Donizetti differ from those of Rossini and composers of his time is in the extent to which later composers pepper their recitative scenes with lyrical periods, even when the verse forms do not easily lend themselves to this practice.

Verses intended for formal numbers are quite different. In the simplest case, solo arias, they consist of stanzas of rhymed poetry in a single meter, or first in one meter, then in another.

Poetry in fixed meters was used not only for lyrical sections but also for dialogue falling within musical numbers (as opposed to the versi sciolti employed for dialogue falling between musical numbers). The difference is significant, and using the term “recitative” to refer indiscriminately to both kinds of music hides distinctions that are important for how we must hear and perform the passages in question. Within a musical number dialogue (or parlante as it was often called in the nineteenth century) was frequently organized into more regular rhythmic units, with the orchestra providing continuity and structure, while the vocal line fits itself into the texture more freely, following the implications of the dramatic situation.

By purely poetic means, then (the use of different meters, the use of stanzas of verse for a single character, the use of dialogue, etc.), librettists—often in consultation with the composer—materially influenced the structure and character of both the entire opera and each individual piece. They provided composers with recitative verse and with formal numbers, so that the poetry shaped important musical decisions. For the most part, composers took the structural parameters implicit in the poetry, fashioning each composition accordingly and from those parameters developing the shape of the entire opera.

Versi sciolti: "loose verse": an alternation of eleven- and seven-syllable lines - no stanzaic structure and only occsional rhymes. Often set as recitative, with "kinetic" action - texts that moves the action forward.

Gossett's first example: "Ebben, a te, ferisci" from Rossini's Semiramide.

Four parts (as evidence by text).

• Part 1: parallel poetic stanzas; dialogue
• Part 2: cantabile: lyrical contemplation of the dramatic situation
• Part 3:arioso; short melodic phrases; simple chordal background
• Part 4: cabaletta; in aria consists of lyrical period, often concluding coloratura;

Donizetti accepts Rossini's formal model, though with different melodic style.

Verdi was seeking new forms. By mid 19th-century, the four parts had become two, the slow and lyrical cantabile followed by the contrasting cabaletta. Example from La Traviata, Alfredo-Violetta duet: [part one] Colpevol sono; [part 2] Parigi, o cara; [part 3] Ah non più; [part 4] Gran Dio! morir si giovine. Gossett: the text forces a change of the character of each section, although the four-part structure is maintained. Despite ambivalence, Verdi maintained solita forma in Aida, example: Già i sacerdoti adunansi [part 1]; Morire! Ah! tu dei vivere! [part 2]; Di lei non più [part 3]; Chi ti salva, sciagurato [part 4; cabaletta].

Table

Section	Name of section	Genre	Type of language	dramatic action
1	Primo tempo (Tempo d'attacco)	recitative	versi sciolti (stanzas, dialogue)	kinetic
2	Pezzo concertato/Adagio	Adagio	versi lirici	static
3	Tempo di mezzo	Tempo di mezzo	versi sciolti	kinetic
4	Cabaletta / stretta	Cabaletta	versi lirici	static

Bibliography

• Gossett, Philip (1974), "Verdi, Ghislanzoni, and "Aida": The Uses of Convention", Critical Inquiry, 1 (2): 291–334

Drexel

• Passport application May 28, 1873: January 26, 1831
  • http://interactive.ancestry.com/1174/USM1372_195-0564/1325987?backurl=http%3a%2f%2fsearch.ancestry.com%2fcgi-bin%2fsse.dll%3fgst%3d-6&ssrc=&backlabel=ReturnSearchResults
• Passport application: May q17, 1877 - illegible

Special Collections

Origins

From: Trends in Rare Book and Documents Special Collections Management. Primary Research Group Inc, 2008 ISBN 1574400959

• Collection background and scope
• Acquisitions and development
• Pre-screening procedures and security
• Outreach and publicity
• Exhibits
• Lending
• Cataloging
• Digitization and online exhibits
• Preservation

[Special Collections, Issue 57]

http://books.google.com/books?id=8aHiAAAAMAAJ&printsec=frontcover&dq=%22special+collections%22&hl=en&sa=X&ei=UDPfUfDWNbLC4APArYG4Cw&ved=0CDAQ6AEwAA

• http://www.ala.org/acrl/standards/comp4specollect
• http://www.arl.org/focus-areas/research-collections/special-collections
• http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups
• http://www.arl.org/storage/documents/publications/special-collections-task-force-final-status-report-july2006.pdf

Wikipedia articles to create related to NYPL-MUS

Infobox for manuscripts

Drexel 4041
New York Public Library for the Performing Arts
Type	Commonplace book
Date	Uncertain
Place of origin	England
Language(s)	English
Size	144 leaves

Other NYPL articles to create

• Drexel 5609, 5611, 5612
  • Individual works listed in: Virginia Brookes, British Keyboard Music to c.1660: sources and thematic index (New York : Oxford University Press, 1996), p. 58-72.
  • Hilda Gervers, "A manuscript of dance music from seventeenth-century England : Drexel Collection Ms. 5612," Bulletin of The New York Public Library 80, no. 4 (Summer 1977), p. 503-552.
  • Candace Bailey, "New York Public Library Drexel MS 5611," Fontes Artis Musicae 47, no. 1 (Jan.-Mar. 2000), p. 51-67.
• Drexel 5061 - "Ayres for viols"
• Drexel 4300 - contents list and notes in Richard Charteris, "Correspondence" Music and Letters (2008), p. 698-700.
• Vladimir Heifetz

Merrill additions

Saturday Evening Post interview "Fannie Brice Tells Her Story" as told to Palma Wayne. Saturday Evening Post, November 21, 1925.

Publications

• Bulletin: bequest of Katherine Drexel Penrose: 23:11, 176 ; 24:130.
• Publications:
  • Gibbons (Bulletin): 27:121
  • Byrd: 28:5