The National Library of Spain (Biblioteca Nacional de España, BNE) is the head of the Spanish library system. It holds all books published in Spain, and also several collections of different types, including the Music and Audiovisuals Department's sound recordings and sheet music. Its Department of Bibliographic Control of Periodicals catalogues both newspapers and magazines. In addition, the BNE offers a number of online services including the Hispanic Digital Library (Biblioteca Digital Hispánica, BDH) and the Digital Newspaper Library (Hemeroteca Digital, HemD). The BDH, was created in 2008 and currently provides free and open access to more than 220,000 digitized documents, including recordings and scores.1 In contrast, HemD, which is part of the BDH, focuses on the public dissemination of the digital collection of Spanish historical presses.2 It currently offers around 2,500 titles and more than 70,000,000 pages.3 Newspapers and magazines are available in PDF format and searches are facilitated by OCR (Optical Character Recognition).
西班牙国家图书馆(Biblioteca Nacional de España, BNE)是西班牙图书馆系统的领头人。它拥有所有在西班牙出版的书籍，以及几种不同类型的收藏，包括音乐和视听部门的录音和乐谱。它的期刊书目控制部门对报纸和杂志进行编目。此外，BNE还提供许多在线服务，包括西班牙数字图书馆(Biblioteca Digital Hispánica, BDH)和数字报纸图书馆(Hemeroteca Digital, HemD)。BDH创建于2008年，目前免费开放访问超过22万份数字化文件，包括录音和乐谱相比之下，HemD是BDH的一部分，专注于西班牙历史出版社数字收藏的公共传播它目前提供大约2500种图书，超过7000万页报纸和杂志以PDF格式提供，并通过OCR(光学字符识别)方便搜索。
{"title":"Digital Sources for Nineteenth Century Music in Spain: The Digitization Project of the National Library in Context","authors":"Teresa Cascudo García-Villaraco, Gorka Rubiales Zabarte","doi":"10.1017/S1479409822000155","DOIUrl":"https://doi.org/10.1017/S1479409822000155","url":null,"abstract":"The National Library of Spain (Biblioteca Nacional de España, BNE) is the head of the Spanish library system. It holds all books published in Spain, and also several collections of different types, including the Music and Audiovisuals Department's sound recordings and sheet music. Its Department of Bibliographic Control of Periodicals catalogues both newspapers and magazines. In addition, the BNE offers a number of online services including the Hispanic Digital Library (Biblioteca Digital Hispánica, BDH) and the Digital Newspaper Library (Hemeroteca Digital, HemD). The BDH, was created in 2008 and currently provides free and open access to more than 220,000 digitized documents, including recordings and scores.1 In contrast, HemD, which is part of the BDH, focuses on the public dissemination of the digital collection of Spanish historical presses.2 It currently offers around 2,500 titles and more than 70,000,000 pages.3 Newspapers and magazines are available in PDF format and searches are facilitated by OCR (Optical Character Recognition).","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"235 - 248"},"PeriodicalIF":0.3,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44211812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-16DOI: 10.1017/s1479409822000362
J. Garratt
{"title":"Russell Stinson, Bach's Legacy: The Music as Heard by Later Masters (New York: Oxford University Press, 2020). 177 pp. £22.99","authors":"J. Garratt","doi":"10.1017/s1479409822000362","DOIUrl":"https://doi.org/10.1017/s1479409822000362","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47294540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-08DOI: 10.1017/s1479409822000283
Evan A. MacCarthy
Franz Schubert's final attempt at a Singspiel was Die Verschworenen (The Conspirators, D. 787), a loose adaptation of three comedies by Aristophanes: Lysistrata, Ecclesiazusae (Assemblywomen) and Thesmophoriazusae (Women at the Thesmophoria). Composed in 1823, but not premiered until 1861 (in Vienna), the work was successfully revived for its United States premiere 18 months later, in Hoboken, New Jersey, for a thriving German-American cultural community at the time of the American Civil War. The historical conditions of early performances in Hoboken and the Kleindeutschland neighbourhood of Manhattan, and the reasons for the work's programming by its conductor, Friedrich Adolf Sorge, a prominent German-American political and labour leader who wanted the arts to ‘shake up the people’, are addressed. Schubert's Singspiel had several layers of meaning for its audiences of mostly German immigrants living in the New York City area: as an adaptation of Aristophanes’s Lysistrata, set in the Crusades, it was a comic plea for peace both in the early years of the Civil War and amid the violent political strife on the path toward German unification. Its use of parts of Aristophanes’s Ecclesiazusae suggested relevance to labour disputes that Sorge had been involved in since the 1850s and would eventually lead himself after establishing the New York Section of the International Workingmen's Association. In this context, Schubert's work becomes both Germanic and Hellenic, medieval and modern, thereby becoming an assurance of Old-World culture for its varied German-American audiences.
弗朗茨·舒伯特的最后一次创作是《阴谋家》（The Conspirators，D.787），这是对阿里斯托芬的三部喜剧的松散改编：《利西斯特拉塔》、《女议员》和《Thesmophoriazusae》。这部作品创作于1823年，但直到1861年才在维也纳首演。18个月后，这部作品在新泽西州霍博肯成功地在美国首演，以纪念美国内战时期繁荣的德美文化社区。介绍了早期在霍博肯和曼哈顿克莱因德施兰街区演出的历史条件，以及指挥弗里德里希·阿道夫·索奇（Friedrich Adolf Sorge）为作品编程的原因。索奇是一位著名的德裔美国政治和劳工领袖，他希望艺术能“震撼人民”。舒伯特的《Singspiel》对居住在纽约市地区的主要是德国移民的观众来说有几层意义：它改编自阿里斯托芬的《Lysistrata》，故事发生在十字军东征时期，是南北战争初期和德国统一道路上的暴力政治冲突中对和平的滑稽呼吁。它使用了阿里斯托芬的《传道书》的部分内容，这表明索奇自19世纪50年代以来一直参与劳资纠纷，并最终在成立国际工人协会纽约分会后领导自己。在这种背景下，舒伯特的作品既有日耳曼文化，也有希腊文化，既有中世纪文化，又有现代文化，从而为不同的德美观众提供了旧世界文化的保证。
{"title":"Lysistrata in Kleindeutschland: The German-American Reception of Schubert's Die Verschworenen (D. 787)","authors":"Evan A. MacCarthy","doi":"10.1017/s1479409822000283","DOIUrl":"https://doi.org/10.1017/s1479409822000283","url":null,"abstract":"Franz Schubert's final attempt at a Singspiel was Die Verschworenen (The Conspirators, D. 787), a loose adaptation of three comedies by Aristophanes: Lysistrata, Ecclesiazusae (Assemblywomen) and Thesmophoriazusae (Women at the Thesmophoria). Composed in 1823, but not premiered until 1861 (in Vienna), the work was successfully revived for its United States premiere 18 months later, in Hoboken, New Jersey, for a thriving German-American cultural community at the time of the American Civil War. The historical conditions of early performances in Hoboken and the Kleindeutschland neighbourhood of Manhattan, and the reasons for the work's programming by its conductor, Friedrich Adolf Sorge, a prominent German-American political and labour leader who wanted the arts to ‘shake up the people’, are addressed. Schubert's Singspiel had several layers of meaning for its audiences of mostly German immigrants living in the New York City area: as an adaptation of Aristophanes’s Lysistrata, set in the Crusades, it was a comic plea for peace both in the early years of the Civil War and amid the violent political strife on the path toward German unification. Its use of parts of Aristophanes’s Ecclesiazusae suggested relevance to labour disputes that Sorge had been involved in since the 1850s and would eventually lead himself after establishing the New York Section of the International Workingmen's Association. In this context, Schubert's work becomes both Germanic and Hellenic, medieval and modern, thereby becoming an assurance of Old-World culture for its varied German-American audiences.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43963429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-06DOI: 10.1017/S1479409822000313
Nicholas Attfield
ent type of virtuosity and, to borrow Dunsby’s term, it is the symbiosis of the composer and performer that determines the exact virtuosity type. The essays of this book deepen our understanding of the concept of virtuosity and of different approaches. Some essays require previous knowledge of the source described to be fully comprehended. As a collection, the book re-evaluates virtuosity, specifically its given definitions and practices, through Liszt’s own understanding in connection to his contemporaries. However, the topic of audience reception is not addressed much, and it could have enhanced further the conception of virtuosity. The question to what extent something is virtuosic when the external difficulty is not so visual has been raised in a similar vein by few authors. Could this feature be called something different? Is there more than one virtuosity? Some chapters hint, indirectly and directly, that indeed there are different conceptions of the term. One must also consider, though, that virtuosity and its definition as having a specific level of difficulty was comprehended differently not only by composers and performers but also by the audience when a work was first heard, even though today’s audiences expect technical demanding works. There was a mutual collaboration between audiences, composers and performers for the conception and definition of virtuosity.
{"title":"Charles Youmans, ed. Mahler in Context (Cambridge: Cambridge University Press, 2021). 344 pp. £84.99.","authors":"Nicholas Attfield","doi":"10.1017/S1479409822000313","DOIUrl":"https://doi.org/10.1017/S1479409822000313","url":null,"abstract":"ent type of virtuosity and, to borrow Dunsby’s term, it is the symbiosis of the composer and performer that determines the exact virtuosity type. The essays of this book deepen our understanding of the concept of virtuosity and of different approaches. Some essays require previous knowledge of the source described to be fully comprehended. As a collection, the book re-evaluates virtuosity, specifically its given definitions and practices, through Liszt’s own understanding in connection to his contemporaries. However, the topic of audience reception is not addressed much, and it could have enhanced further the conception of virtuosity. The question to what extent something is virtuosic when the external difficulty is not so visual has been raised in a similar vein by few authors. Could this feature be called something different? Is there more than one virtuosity? Some chapters hint, indirectly and directly, that indeed there are different conceptions of the term. One must also consider, though, that virtuosity and its definition as having a specific level of difficulty was comprehended differently not only by composers and performers but also by the audience when a work was first heard, even though today’s audiences expect technical demanding works. There was a mutual collaboration between audiences, composers and performers for the conception and definition of virtuosity.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"629 - 633"},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46619859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-06DOI: 10.1017/s1479409822000295
R. Ketterer
Rossini's Ciro in Babilonia, ossia, La caduta di Baldassare (Cyrus in Babylon, or, The Fall of Belshazzar) was performed during Lent in 1812 at Ferrara's Teatro Comunale. This study examines how the opera's librettist Francesco Aventi synthesized disparate sources that included the Greek historian Herodotus and the Biblical prophets, ancient and early modern prose treatises on the Persian king Cyrus the Great, and baroque operatic representations of imperial power; and how Rossini responded to those sources musically for the particular historical moment in March of 1812. The piece is of interest as the first serious opera for the librettist and the composer both. It displays innovative approaches to classicizing material familiar from the eighteenth-century, as exemplified in Metastasio's Ciro riconosciuto and Sarti's Giulio Sabino, and it presents the secular hero Cyrus as a Christological figure that suffers and then triumphs with divine help. Musically it anticipates developments in Rossini's own Mosè in Egitto and Semiramide. The title “Under cover in Babylon” refers first to Aventi's and Rossini's use of the standard operatic plot device of the disguised lover to motivate Cyrus's entry into the enemy city of Babylon. Second, by calling the piece an “oratorio” and including Biblical material, they disguised an opera as an entertainment appropriate for Lent. Finally, the piece carries possible but subtly expressed messages connected with Napoleonic Italy and the Ferrarese Jewish community.
罗西尼的《巴比洛尼亚的西罗》（Ciro in Babilonia，ossia，La caduta di Baldassare）（《赛勒斯在巴比伦》或《贝尔沙扎尔的沦陷》）于1812年大斋节期间在费拉拉的科穆纳莱剧院上演。这项研究考察了歌剧的编剧弗朗西斯科·阿文蒂是如何综合不同的来源的，其中包括希腊历史学家希罗多德和《圣经》中的先知，关于波斯国王居鲁士大帝的古代和现代早期散文论文，以及帝国权力的巴洛克歌剧表现；以及罗西尼是如何在1812年3月的特定历史时刻对这些来源做出音乐回应的。这部作品作为编剧和作曲家的第一部严肃歌剧而备受关注。它展示了对十八世纪熟悉的材料进行古典化的创新方法，如梅塔西奥的《西罗·里科诺西乌托》和萨尔蒂的《朱利奥·萨比诺》，它将世俗英雄赛勒斯描绘成一个在神的帮助下受苦，然后胜利的基督人物。在音乐上，它期待着罗西尼自己的Mosèin Egitto和Semiramide的发展。标题“在巴比伦的掩护下”首先指的是阿文蒂和罗西尼使用伪装情人的标准歌剧情节装置来激励赛勒斯进入敌方城市巴比伦。其次，他们称这部作品为“清唱剧”，并包含《圣经》中的材料，将歌剧伪装成适合大斋节的娱乐节目。最后，这篇文章传达了与拿破仑时代的意大利和费拉雷斯犹太社区有关的可能但巧妙表达的信息。
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Pub Date : 2022-08-24DOI: 10.1017/S1479409822000143
Rachel E. Scott
A growing body of literature has shifted aesthetic attention from composition to performance, or the performing activity, and asserts that the act of performance creates meaning.1 Scholars have emphasized differences between the passive consumption and active making of – or even listening to – music.2 As I sought to understand the impact of performance on Alma Mahler's legacy, I identified the need to gather as much data as possible on who, what, where, when, why, and how her songs were performed. This need led me to evaluate the metadata associated with recordings of Alma Mahler's songs in the WorldCat union catalogue and the video sharing platform YouTube. Recent studies have shown the utility of leveraging big data for musicology, although few scholars have done so to investigate reception history. This essay outlines one approach to data scraping YouTube with emphasis on the value to those researching recent Lieder reception, and in doing so highlights some of the promise and limitations associated with web scraping.
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Pub Date : 2022-08-01DOI: 10.1017/s1479409822000374
{"title":"Notes on Article Contributors","authors":"","doi":"10.1017/s1479409822000374","DOIUrl":"https://doi.org/10.1017/s1479409822000374","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"205 - 206"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48385077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1017/s1479409822000167
D. Manning
{"title":"Antonín Dvořák, Biblické písně (Biblical Songs), op. 99, Urtext, edited by Eva Velická, foreword by David R. Beveridge (Kassel: Bärenreiter, 2021). BA 10425 (low voice). BA 10426 (high voice). xix + 38.","authors":"D. Manning","doi":"10.1017/s1479409822000167","DOIUrl":"https://doi.org/10.1017/s1479409822000167","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"649 - 650"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41875955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1017/s1479409822000350
{"title":"NCM volume 19 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1479409822000350","DOIUrl":"https://doi.org/10.1017/s1479409822000350","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":"b1 - b4"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46891687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1017/s1479409822000349
{"title":"NCM volume 19 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1479409822000349","DOIUrl":"https://doi.org/10.1017/s1479409822000349","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48889277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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