Bartók’s Sonatas for Violin and Piano nos. 1–2: The Compositional Process

In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.

BODINO MANUSCRIPTS 1830: DETAILED DESCRIPTION

This scientifi c description of Pushkin’s autographs from the autumn of 1830 is an expanded and refi ned version of the description that accompanied the facsimile edition of ‘A. S. Pushkin. Boldino manuscripts of 1830’ in 3 volumes (St.-Petersburg, 2009, 2013). The new description includes 98 autographs of the poet while the previous one included 97 autographs. The description of most of the autographs is supplemented with comments justifying the dates proposed by the authors and provides some additional information about the paper grades that Pushkin used in the autumn months of 1830. In addition, according to archival sources, the history of the existence of several large collections of Pushkin’s autographs has been clarifi ed (L. N. Maikov’s, I. A. Shliap kin’s, Grand Prince Konstantin Konstantinovich).

Reduced forms in the nominal morphology of the Lindisfarne Gospel Gloss. A case of accusative/dative syncretism?

One of the most characteristic features of the grammar of the Lindisfarne Gospel gloss is the absence of the etymological -e inflection in the dative singular in the paradigm of the strong masculine and neuter declension (a-stems). Ross (1960: 38) already noted that endingless forms of the nominative/accusative cases were quite frequent in contexts where a dative singular in -e would be expected, to the extent that he labeled the forms in -e ‘rudimentary dative.’ The aim of this article is to assess to what extent the dative singular is still found as a separate case in the paradigms of the masculine and neuter a-stems and root nouns. To this end a quantitative/statistical analysis of nouns belonging to these classes has been carried out in contexts where the Latin lemma is either accusative or dative. We have tried to determine whether variables such as syntactic context, noun class, and frequency condition the presence or absence of the -e inflection, and whether the distribution of the inflected and uninflected forms is different in the various demarcations that have been identified in the gloss. The data have been retrieved using the Dictionary of Old English Corpus. All tokens have been checked against the facsimile edition and the digitised manuscript in order to detect possible errors.

Faksymilia jako typ publikacji książkowej — definicja, typologia, edytorstwo i funkcje

The subject of facsimiles has rarely been explored in Polish bibliology. That is why the present study is an attempt to systematise the knowledge of the subject on the basis of bibliological and scholarly sources, both Polish and foreign. Facsimiles are made to represent the most important features of documents, including the faithfulness in the reproduction of the original, content added during facsimile edition (back matter, commentary) as well as formal and editorial features. The very process of producing a facsimile consists in advanced scanning of the original document, precise printing guaranteeing faithful reproduction of colours, manual treatment (e.g. cutting of holes, gilding etc.) and binding. All these elements are to make the facsimile similar to the original as much as possible. Facsimiles serve as substitutes of original documents, making it possible to disseminate and protect the originals, and use them in research or popularising activities. Given the aesthetic and material value, they may also become collector’s items or investments for potential users. Today facsimiles are undergoing transformations in the context of their roles and functions.

Readies for Bob Brown's Machine

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

SOME TEXTUAL OBSERVATIONS ON THE MANUSCRIPTS OF “THE HISTORY OF THE VILLAGE OF GORYUKHINO”

This article explores how Pushkin worked on “The History of the Village of Goryukhino” («История села Горюхина») during the Boldino Autumn of 1830. The order of creation of the autographs that survived (the plan, the introduction sketch, the main text, and the manuscript cover) remained an unsolved question in Pushkin studies until now. Since the publication of the facsimile edition of Pushkin’s Boldino manuscripts, it has become possible to clarify his process of working on “The History of the Village of Goryukhino” («История села Горюхина»).