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Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating essays, Petrobelli analyzes specific operas, mainly by Verdi, in terms of historical context, musical organization, and dramaturgical conventions. Originally published in 1995. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Edward T. Cone was one of the most important and influential music critics of the twentieth century. He was also a master lecturer skilled at conveying his ideas to broad audiences.Hearing and Knowing Musiccollects fourteen essays that Cone gave as talks in his later years and that were left unpublished at his death. Edited and introduced by Robert Morgan, these essays cover a broad range of topics, including music's position in culture, musical aesthetics, the significance of opera as an art, setting text to music, the nature of twentieth-century harmony and form, and the practice of musical analysis. Fully matching the quality and style of Cone's published writings, these essays mark a critical addition to his work, developing new ideas, such as the composer as critic; clarifying and modifying older positions, especially regarding opera and the nature of sung utterance; and adding new and often unexpected insights on composers and ideas previously discussed by Cone. In addition, there are essays, such as one on Debussy, that lead Cone into areas he had not previously examined.Hearing and Knowing Musicrepresents the final testament of one of our most important writers on music.

Abstract Aims The SOLOIST‐WHF trial demonstrated efficacy of sotagliflozin in patients with type 2 diabetes mellitus (T2DM) and recent worsening heart failure (HF) regardless of ejection fraction (EF). Selection criteria in trials may limit their generalizability. Therefore, we aimed to investigate eligibility for sotagliflozin based on the SOLOIST-WHF criteria in a real-world HF population. Methods and results SOLOIST-WHF criteria were applied to patients stabilized after HF hospitalization in the Swedish HF Registry according to (i) literal scenario (all inclusion/exclusion criteria) or (ii) pragmatic scenario (only criteria likely to influence treatment decisions). Of 5453 inpatients with T2DM and recent worsening HF, 51.4% had reduced EF (HFrEF), 19.1% mildly reduced (HFmrEF), and 29.5% preserved EF (HFpEF). Eligibility (literal) was: 27.2% (32.4% in HFrEF, 24.7% in HFmrEF, 19.7% in HFpEF) and eligibility (pragmatic) was 62.8% (69.1%, 60.3%, 53.4%, respectively). In the literal scenario, criteria limiting eligibility were HF duration <3 months, eGFR <30 ml/min/1.73 m2, age >85 years, acute coronary syndrome <3 months, and insufficiently high N-terminal pro-B-type natriuretic peptide levels. Eligible vs. non-eligible patients had more severe HF, higher cardiovascular (CV) comorbidity burden, higher use of HF treatments, and higher event rates (all-cause death 30.8 vs. 27.2 per 100 patient-years, CV death 19.1 vs. 16.6, and HF hospitalization 36.7 vs. 24.0). Conclusion In this large, real-world HF cohort with T2DM, ∼1/3 of patients were eligible for sotagliflozin in the literal and ∼2/3 of patients in the pragmatic scenario. Eligible patients had more severe HF and higher event rates, in particular CV and HF events. Graphical Abstract Graphical Abstract Overall eligibility and eligibility rates across the EF spectrum in patients eligible vs. non-eligible based on the literal scenario (all enrolment criteria).

In 2023, a major European musical ensemble, the Belgrade Philharmonic Orchestra, celebrates its centennial. In the course of 100 years, this institution faced numerous obstacles, but thanks to the enthusiasm of great musicians, especially conductors, it has survived and laid the foundation for further musical and cultural development in Serbia. This article discusses the activity of the most important orchestral leaders (Stevan Hristić, Lovro von Matačić, Krešimir Baranović, Živojin Zdravković, Horst Förster, Vassily Sinaisky, Emil Tabakov, Uroš Lajovic, Dorian Wilson, Muhai Tang, Gabriel Feltz, Daniel Raiskin and Zubin Mehta), who have vastly contributed to or changed the course of the orchestra's development and left a big mark in its hundred-year-long history. In its centenary year, we will look back into the past, review the present, but also take a glimpse into the future the Belgrade Philharmonic Orchestra has already started to write for itself.

The article, based on the archival sources for the first the time introduced into scientific discourse, deals with an attempt to reform the system of honorary titles for the artists of the Imperial theaters undertaken by director of the Imperial Theatres S.M. Volkonsky in 1899-1900. The research is based on the archival sources for the first the time introduced into scientific discourse. In the Russian Empire artists were awarded with two honorary titles: “soloist of His Majesty” and “honored artist of the Imperial theatres”. Having taken the position of director, S.M. Volkonsky presented his project “Provisions” to the officials of the Court Ministry, in which he proposed to abolish the title of “honored artist”, and to differentiate the “soloist of His Majesty” title and a special badge, which all the artists with the honorary titles had been given since 1895. After criticism by the representatives of the Ministry S.M. Volkonsky presented a new project in which he proposed to establish a two-rank award for the representatives of all kinds of performing arts, in which there would be the lowest level of the title – “honored artist” and the highest – “soloist of His Majesty”. However, this project was not adopted as well by two reasons: 1) inappropriateness of awarding dramatic actors with the “soloist” title; 2) impossibility of achieving the first degree of the award after the second one. As a result the reform of honorary degrees was not carried out until 1917, largely due to the inexperience of S.M. Volkonsky in bureaucratic affairs.

Garrett pays tribute to the late New York-based pianist Joseph Smith, who died suddenly on March 23, 2015. She praises Smith as an ideal collaborator with singers, due to his encylcopedic knowledge of opera scores, championing of new music, and assiduous research.

Today, woodwind concerto soloists generally remain silent during the tutti sections of 18th-century concertos, despite the fact that most printed solo parts of the period do contain notated music for the soloist during these sections. Since it is often based upon the first violin part, this tutti music notated for the soloist is sometimes dismissed as a cueing device, despite various features that suggest otherwise. This article takes Mozart's Clarinet Concerto k622 as a case study, presenting evidence that Mozart and his contemporaries meant the soloist to participate during some or all tuttis. The 1801 André print was one of the three earliest complete extant sources for k622 and makes a clear distinction between tutti music which should be played (appearing in normal-sized type) and that which should not (via small or cue-sized type). When it is to be played, the notated music does not follow the first violin verbatim but is altered, thereby implying it should be played. Two further arrangements of k622, one for viola and one for flute, were printed in 1801 alongside those for clarinet. Both arrangements employ the soloist during the tuttis but each in a different manner from the clarinet versions. Several other clarinet concertos from the period are also discussed to demonstrate that there was a variety of strategies for employing the soloist during the tuttis. This was a practice ubiquitous and flexible, by no means limited to the clarinet or to Mozart. It implies a synergetic relationship between soloist and orchestra, while a soloist at rest throughout all tuttis makes a different kind of statement altogether. If woodwind concerto soloists were once again to play along with the tuttis where indicated by the sources, it would certainly impact on how these concertos sound, which would in turn change how they are perceived.

This chapter contains sections titled: Aristotle on Sophocles and/in the Development of Attic Tragedy Aristotle (and Sophocles) Reading Sophocles Conclusions References

Teresa Carreño (1853-1917) first performed Edvard Grieg's (1843-1907) Pictures from Folk Life, op. 19 [Folkelivsbilleder] and Piano Concerto in A Minor, op. 16, during her tours in the United States in the early 1880s. She continued to perform his works in the United States and abroad through 1914. Previously overlooked correspondence, reviews, and other primary sources, such as concert programs, housed in the Edvard Grieg Collection in the Bergen Offentlige Bibliothek, and the Teresa Carreño Collection in Archives and Special Collections of the Vassar College Libraries, are examined in this article in order to provide fresh insight and historical context of Carreño's performance reception, as well as both her personal and professional relationship with Edvard Grieg. In addition to the correspondence between Carreño and Grieg, letters to the Viennese agent Albert J. Gutmann are also examined, and demonstrate Grieg's preference for Carreño as soloist—despite his access to other great pianists—as well as their friendship and collegiality, choices in repertoire selection, concert preparations, and other important events in their lives.