Johannes Brahms’s well-known historical consciousness took a particularly formative turn in the mid-1850s when he embarked upon a self-imposed hiatus from composing to deepen his knowledge of the music-historical past. This conscious embrace of historical study was characteristic of his time. Following the 1848 Märzrevolution, a growing contingent of German intellectuals, sceptical of the more speculative teachings of philosophy and theology, became increasingly receptive to the concrete lessons of history. Brahms’s reading habits suggest his inclination toward a politics of historical knowledge closely associated with the ‘Prussian School’. The writings of these historians, including Johann Gustav Droysen, Henrich von Sybel and Heinrich von Treitschke, exhibit a blend of idealist philosophy and dogmatic empiricism oriented above all toward the goal of legitimating German national unification under Prussia. Particularly influential was Sybel’s seven-volume Die Begründung des deutschen Reiches durch Wilhelm I (The Founding of the German Reich through Wilhelm I), completed in the 1890s. Brahms, a Hamburg-born sympathizer of Prussian Kleindeutsch nationalism, who was a permanent resident of the Austrian capital of Vienna for the last 26 years of his life, was uniquely situated in relationship to the ‘German Question’. His well-marked copy of Sybel’s magisterial text adds illuminating granularity to our understanding of his personal and political values and ruminations on history spanning four decades. Brahms’s reading of Sybel makes legible a longer trajectory stretching from his ‘years of study’ in the 1850s, conveying how the studious historicism of his youth is best understood as an aesthetic stance densely interwoven with, and at the end of his life ratified by, the cultural and political agendas of Prussian School ideology and the meanings of the past forged in the crucible of the German historical imagination.

This article traces the evolution of anti-semitism in post-war Italy, from the early responses to the Holocaust to the increasingly concerning signs of contemporary anti-Jewish prejudice. Tracing the discourses of religious and secular attitudes towards Jews, the piece shows how resilient certain stereotypes are, and how assumptions about citizenship continue to undermine the respect of difference in Italy. With a reflection that is meant to be personal and scholarly at the same time, this contribution has the aim of facilitating a broader reflection, that spans instances of anti-semitism among the anti-racist Left, the correlation between unresolved anti-Jewish prejudice and widespread racist, anti-immigrant discourses, the challenges of a politicised memorialisation of the Holocaust, and also the role Jewish communities may play in this unsettling context.

Caribou (tuktuit) are embedded in northern life, and have been part of Inuit culture and seasonal rounds for generations. In Inuit Nunangat (Inuit homelands), tuktuit are the most prevalent of country foods consumed, and remain interconnected with Inuit values, beliefs and practices. Despite co-management mandates to consider Inuit and scientific knowledge equally, the intertwined colonial legacies of research and wildlife management render this challenging. In Uqsuqtuuq (Gjoa Haven, Nunavut), community members identified the importance of documenting Inuit knowledge in order to be taken more seriously by researchers and government managers. To address this priority we worked with Uqsuqtuurmiut (people of Uqsuqtuuq) to articulate which types of tuktuit are found on or near Qikiqtaq (King William Island), provide a historical perspective of tuktuit presence/absence in the region, and describe seasonal movements of tuktuit on and off the island. In reflecting on potential intersections of our work with the Government of Nunavut strategy “Working Together for Caribou”, we identify several considerations in support of Qanuqtuurniq (information and knowledge acquisition): defining information needs, recognising and valuing Inuit knowledge, and developing and implementing credible research. By sharing lessons from our collaborative process we aim to contribute to broader cross-cultural research and co-management efforts in Nunavut.

This article considers two different ways of formulating a desire-satisfaction theory of prudential value. The first version of the theory (the object view) assigns basic prudential value to the state of affairs that is the object of a person's desire. The second version (the combo view) assigns basic prudential value to the compound state of affairs in which (a) a person desires some state of affairs and (b) this state of affairs obtains. My aims in this article are twofold. First, I aim to highlight that these are not mere notational variants, but in fact have quite different implications, so that this distinction is not one that the theorist of prudential value should ignore. More positively, I argue that the object view is better able to capture what is distinctive and appealing about subjective theories of prudential value, on any plausible account of what the central subjectivist insight is.

In his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative perspective, focusing on the assimilation of Italian music, particularly the works of Arcangelo Corelli, into popular, quasi-oral traditions of instrumental music in Scotland and beyond. The case of ‘Mr Cosgill's Delight’, a popular tune derived from a gavotte from Corelli's Sonate da camera a tre, Op. 2, is presented as an illustration of this process. The mechanics of vernacularization are further explored through a cache of ornaments for Corelli's Sonate per violino e violone o cimbalo, Op. 5, by the Scottish professional violinists William McGibbon and Charles McLean. The study foregrounds the agency of working musicians dually immersed in elite and popular musical traditions, while shedding new light on McGibbon's significance as an early dual master of Italian and Scots string-playing traditions.

Although Fedele Fenaroli's partimento and counterpoint pedagogy has been the subject of a number of recent publications, several aspects of its organization and contents require further research. Thanks to the recent discovery of multiple manuscripts, I am able to elaborate on two of them in this article. First I deal with Fenaroli's partimento curriculum. As several manuscripts illustrate, Fenaroli appears to have maintained a progressive method consisting of four parts (or books) almost throughout his entire career. A partimento student had to work through the first three books successively, which served as Fenaroli's basic partimento course. When these three books had been satisfactorily assimilated, the student could proceed with book 4, which was clearly intended by Fenaroli as his advanced partimento course. Secondly, I engage with Fenaroli's views on dissonance treatment and place them in the broader context of eighteenth-century Neapolitan pedagogy, and thoroughbass and music theory treatises in general.

Large-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century: Les deux chasseurs et la laitière (1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history of Les deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, like Les deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?