Art music, orchestral and formal music Books

Book SynopsisIn the First World War, civilian life played a fundamental part in the war effort; and music was no exception. Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity. RACHEL MOORE is a Leverhulme Early Career Fellow in Music, University of Oxford.Trade Review[A] fascinating, often surprising, and rigorously researched account of a critical moment in French history. It will be a welcome addition to the shelves of music scholars, cultural historians, and university libraries. -- Julianne Lindberg * NOTES, THE QUARTERLY JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Table of ContentsIntroduction Musical Institutions on the Home Front The Origins of Wartime Musical Propaganda: From the Written Word to Performing Globe-Trotters Saint-Saëns's Germanophilie as a Propaganda Prototype Propaganda on the Concert Stage: the Matinées Nationales Creativity and Compromise at the Opéra Music Publishing and the Édition Française de Musique Classique Conclusion Bibliography

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Book SynopsisExamines the genesis of Ernest Newman's major publications in the context of prevailing intellectual trends in history, criticism and biography. Ernest Newman (1868-1959) left an indelible mark on British musical criticism in a career spanning more than seventy years. His magisterial Life of Richard Wagner, published in four volumes between 1933 and 1946, is regarded as his crowning achievement, but Newman wrote many other influential books and essays on a variety of subjects ranging from early music to Schoenberg. In this book, the geneses of Newman's major publications are examined in thecontext of prevailing intellectual trends in history, criticism and biography. Newman's career as a writer is traced across a wide range of subjects including English and French literature, evolutionary theory and biographical method, and French, German and Russian music. Underpinning many of these works is Newman's preoccupation with rationalism and historical method. By examining particular sets of writings such as composer-biographies and essays from leading newspapers such as the Manchester Guardian and the Sunday Times, this book illustrates the ways in which Newman's work was grounded in late nineteenth-century intellectual paradigms that made him a unique and at times controversial figure. PAUL WATT is Senior Lecturer in Musicology in the Sir Zelman Cowen School of Music at Monash University.Trade ReviewA coherent, engaging, and well-researched study . . . an important book for scholars of music criticism as well as music in Britain. * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *A useful study exploring a fascinating field. * FONTES ARTIS MUSICAE *One comes away from Watt's book with a detailed portrait of Newman the writer and a profound admiration for the way in which the author has painstakingly researched and documented his achievements in the field. * BRIO *Reveals that...Newman's fascinating non-musical background that he brought to music criticism...is the secret of Newman's deeply human renaissance qualities as a writer...[This] critical biography erects the intangible monument that no-one reputedly raises in bronze or marble to critics. * WAGNER NEWS OF VICTORIA *Unpredictably refreshing...Watt has done a very great amount of reading and put these results creditably at our disposal. * GRAMOPHONE *This is indeed a very good and stimulating read. * SOUNDS MAGAZINE *An immensely stimulating and readable book, raising many interesting and ever-relevant questions concerning the nature of music biography and criticism, and how they are affected by extra-musical issue of contemporary social and intellectual preoccupation. * THE MUSICAL TIMES *Thanks to Watt, we know that Newman was personally indebted to his Freethought associates...[this is an] impressively researched book'. -- David Cormack * THE WAGNER JOURNAL *This book is important and will help to keep Newman's contribution to our musical heritage in perspective and alive. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *The book is extremely well written, referenced, and produced, and shows an exemplary attention to detail...Paul Watt has done scholars a considerable service, this being the first book to place the whole span of Newman's career and the most significant parts of his writing in both context and continuum. -- Paul Rodmell * CONTEXT: JOURNAL OF MUSIC RESEARCH *Newman's thinking...comes into focus remarkably well...This is a readable book, with plenty to tell us about the development of an influential mind. -- Stephen Johnson * BBC MUSIC MAGAZINE *[A] well-researched, well-written, well-presented book, drawing upon an impressive bibliography, both musicological and more broadly historiographical. * NABMSA REVIEWS *Ernest Newman was Wagner's most detailed biographer - and despite the age of his four-volume 'Life Of Richard Wagner' it remains indispensable. Ernest Newman finds himself and his work treated to an equally fine biography by Paul Watt. Well worth your attention. * THE WAGNERIAN *This excellent and detailed biography demands to be consulted in conjunction with Newman's writings. * AUSTRALIAN BOOK REVIEW *Table of ContentsErnest Newman and the Challenge of Critical Biography Formation of a Critical Sensibility: The 1880s and 1890s Social, Literary and Musical Criticism: 1893-1897 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 Music History and the Comparative Method: Gluck and the Opera, 1895 From Manchester to Moscow: Essays on Music, 1900-1920 'The World of Music': Essays in The Sunday Times, 1920-1958 Biographical and Musicological Tensions: The Man Liszt, 1934 Sceptical and Transforming: Books on Wagner, 1899-1959 Conclusion: Ernest Newman Remembered Appendix: Newman's Freethought Lectures, 1894-1896

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Book SynopsisBringing together established authorities and new voices, this book takes off the 'protective arm' around Britten. Benjamin Britten Studies brings together established authorities and new voices to offer a fresh perspective on previous scholarship models and a re-contextualization of previously held beliefs about Britten. Using the mostrecent and innovative historical, musicological, sociological, psychological, and theoretical methodologies, the authors take off the 'protective arm' around Britten and disclose an unprecedented amount of previously unpublishedand disregarded primary source materials. The collection considers difficult questions of identity such as Britten's retreat to America, his re-entry into the British musical scene, and late-life revisions of his American works; scrutinizes the fraught establishing of the English Opera Group contemporaneous with the founding of the Aldeburgh Festival of Music and the Arts; explores his break with Boosey & Hawkes and inspects international copyright concerns in the Soviet Union' investigates sensitive issues of intimacy and Britten's relationships; and combines closer analysis of Britten's musico-rhythmic, harmonic, and compositional practices with a description of the more overtlypolitical context within which he found himself. Benjamin Britten Studies ends by asking what we can actually know about the composer in a reconsideration of the materials he left behind. All of this coalesces into avolume that not only serves as a model of on-going and future Britten research but which generates a greater understanding of the overall trends within the ever-synthesizing and interdisciplinary musicological field of the twenty-first century. VICKI P. STROEHER is Professor of Music History at Marshall University. JUSTIN VICKERS is Assistant Professor of Voice at Illinois State University. Contributors: Byron Adams, Nicholas Clark, Jenny Doctor, Paul Kildea, Christopher Mark, Thornton Miller, Louis Niebur, Philip Reed, Colleen Renihan, Philip Rupprecht, Kevin Salfen, Vicki P. Stroeher, Justin Vickers, Lucy Walker, Danielle Ward-Griffin, Lloyd WhitesellTrade ReviewThis book is highly appropriate for its intended audience: academics, librarians, and students. . . . [R]eaders will be pleased with the scholarly rigor represented here. I would also recommend it to musicians, historians, and fans of Britten's music, as many of these chapters are fascinating reading, and they provide new insights into what have become the accepted narratives of . . . 'the man himself.' -- Shersten Johnson * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Deepen[s] our understanding of the composer and his music, whilst also revealing that we can never fully 'know' Britten in spite of our access to documents, recordings and, of course, the music...Witty and thought-provoking. * FONTES ARTIS MUSICAE *An interesting collection of essays on aspects of the composter, his life and compositions. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *[S]erves its subject as a repository of expert disquisitions: 'studies' indeed. . . . [The] admirable and welcome . . . chapters in this beautifully produced book -- a work of art in itself -- combine to demonstrate protean aspects of [Britten]. * NABMSA REVIEWS *These essays, some the result of this new access, include...Kevin Salfen's very fine chapter on No drama...Jenny Doctor on Britten's wartime radio work and Byron Adams on the little-explored influence of John Ireland. * BBC MUSIC MAGAZINE *Table of ContentsEditors' Preface - Vicki P. Stroeher and Justin Vickers Introduction: Writing About Britten - Philip Reed The Shock of Exile: Britten and the American Years - Paul Kildea Britten, Paul Bunyan, and "American-ness" - Vicki P. Stroeher Collaborating with Corwin, CBS, and the BBC: Britten's Re-entry into British Radio in 1942 - Jenny Doctor An Empire Built On Shingle: Britten, the English Opera Group, and the Aldeburgh Festival - Justin Vickers "Save Me From Those Suffering Boys": Britten, John Ireland, and the Venerable Tradition of Uranian Boy Worship in England - Byron Adams Britten's [and Pears's] "Beloved": Sacred Parlor Song, Passion, and Control in Canticle I - Louis Niebur Notes of Unbelonging - Lloyd Whitesell "Take These Tokens That You May Feel Us Near": Remembrance and Renewed Citizenship in Britten's Gloriana - Colleen Renihan Traces of No: Modularity and Saturation in The Burning Fiery Furnace and The Prodigal Son - Kevin Salfen Britten and the Augmented Sixth - Christopher Mark Quickenings of the Heart: Notes on Rhythm and Tempo in Britten - Philip Rupprecht Reviving Paul Bunyan - Danielle Ward-Griffin Striking A Compromise: Britten, British Publishers, Soviet Theatres, and the Premieres of Peter Grimes and The Prince of the Pagodas - Thornton Miller From Boosey & Hawkes to Faber Music: Britten Seeks a "Composer's Place" - Nick Clark The Man Himself - Lucy Walker Epilogue: Liminalities and Britten - Vicki P. Stroeher and Justin Vickers Works Cited

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Book SynopsisWitold Lutoslawski was one of the most important composers of the twentieth century, whose significance extends far beyond his native Poland. His vita is just as captivating as his compositionally path-breaking music. Witold Lutoslawski (1913-1994) was one of the most important composers of the twentieth century. His significance extends far beyond his native Poland: his classical music was premiered by internationally renowned performers likethe LaSalle Quartet and Krystian Zimerman, and his symphonies, concertante, chamber, instrumental and vocal music are produced by the leading labels of the recording industry. Lutoslawski's vita is just as captivating as his compositionally path-breaking music. He lived through the Second World War and brutal German oppression of Poland, negotiated the challenges of Soviet influence and fluctuating local politics during Poland's post-war transition to communism, and finally strove for a new voice in the post-Stalin Thaw of the mid-1950s. Lutoslawski's Worlds is a landmark volume which looks at the multi-faceted spheres that informed the composer's life and works andrepresents a new departure in the study of his music. Throughout his life, he steered musicologists away from the connections between his extraordinary biography and concert music. He also sought to minimize scholarly attention to the many other spheres of creative activity - popular music, theatre music, film scoring, propaganda music, and educational music - that occupied him. In this volume, for the first time, the world's leading Lutoslawski scholars consider the full range of his musical output and the biographical, cultural and historical contexts in which those musics were created. It contends that all of Lutoslawski's worlds are equally worthy of study, because each represents an opportunity better to understand the life and music of a figure of paramount importance to the critical and cultural history of twentieth-century music.Table of ContentsIntroduction - Lisa Jakelski and Nicholas Reyland Witold Lutoslawski's Muzyka zalobna [1958] and the Construction of Genius - Lisa Cooper Vest Personal Loss, Cultural Grief, and Lutoslawski's Music of Mourning - Nicholas Reyland Lutoslawski's String Quartet: Mourning, Melancholia, and Modern Subjectivity - Michael L. Klein Behind the Curtain of Oblivion: Lutoslawski's Music for Theatre and Radio Plays - Wioleta Muras Derwid as Lutoslawski's Patron - Danuta Gwizdalanka Witold Lutoslawski in Occupied Warsaw - Katarzyna Naliwajek-Mazurek Lutoslawski and Sonoristics - Iwona Lindstedt Lutoslawski on Contemporary Music: Critical Commentary in Letters and Documents from the Lutoslawski Correspondence Collection - Stanislaw Bedkowski Witold Lutoslawski's Artistic Diary: an Unknown Document of the Composer's Creative Path - Zbigniew Skowron MAT. LUDOWE: The Lutos File - Adrian Thomas Lutoslawski and Stalinism: Contextualizing Artistic and Political Choices around 1950 - David G. Tompkins Lutoslawski's Political Refrains - Andrea F. Bohlman Lutoslawski, Revived and Remixed - Lisa Jakelski Heart and Brain, Tradition and Modernism: Lutoslawski and the Continuing Story of Harmony - Steven Stucky Selected Bibliography

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Book SynopsisThe first detailed study of the vital role that Norway played in the life and work of Frederick Delius This is a study of the vital role that Norway played in the life and work of Frederick Delius. Norway was a primary source of inspiration for Delius: 20 summers of his adult life were spent there, and almost 40 works express his experiences of Norwegian nature or were composed to Norwegian texts. Yet, although his attachment to Norway was at the core of his creative life, this book is the first in-depth study of the influence the country and its artists had on the composer. It includes significant new material regarding Delius's friendships with Edvard Munch, Edvard Grieg and Knut Hamsun. Previously unknown visits to Norway are detailed, as are close ties to a whole raft of Norwegian artists and political figures that have never previously been documented. For the first time, Delius's alter ego is uncovered, several mythologies regarding the composer are clarified, and the Norwegian background to some of his most well-known works is considered. The Delius that emerges from these pages is little known, even to most enthusiasts of his music: a driven and energetic personality and an artist searching for a language with which to express the existential crisis facing modern man in the early twentieth century. ANDREW J. BOYLE is an author and musician. He gained his PhD on the music of Frederick Delius from the University of Sheffield.Trade ReviewShow[s] both the impact of Norwegian nature and culture on Delius, and Delius's role in Norwegian culture. [Boyle's] aim is to retrieve Delius from the traditional view as a composer of English summer idylls, and to show the role the mountains-and the Oslo fjord- played in his life. * FONTES ARTIS MUSICAE *Having set the scene so thoroughly, Boyle goes on to chronicle Delius's Norwegian wanderings, dalliances and intellectual meanderings in prose that is ever well-researched, candid and elegant. The places and people Delius encountered are vividly drawn, and one develops a tangible sense of the composer's foibles and tastes...The lively topic and sparkling writing ensure an unprecedented volume of high worth for scholar and enthusiast alike. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *[E]ssential to every serious Delius enthusiast. Highly recommended. * THE DELIAN *[F]ills many gaps in our knowledge of Delius's life, and further expands our understanding of his music. . . . So many different cultures, countries, philosophies, and experiences made up the personality and music of Delius and it is timely that this particular long-overlooked aspect -- his relationship to Norway -- receives the meticulous and sympathetic attention that it does here. * NABMSA REVIEWS *[A] satisfying readable analysis of Delius, his world and his music. * COSCAN MAGAZINE *The whole book is written with the love, poetry and insight that Delius' music deserves. * BBC MUSIC MAGAZINE *A delight to read!...a private journey into unexplored territory...with images and such vivid descriptions of the Nordic lands and its music...the majority of the book was new to me...a must read. -- Peter Byrom-Smith * THE BRITISH MUSIC SOCIETY *It opens a wider window for the first time on an essential element within the composer's creative world. -- Peter Dickinson * MUSICAL OPINION *Boyle's research has thrown up much new material on Delius' personal relationships with composers, musicians, artists, political figures and other Norwegian notables, plus hitherto unknown facts regarding his travels to the country. It makes for an absorbing read. * MUSICWEB *Table of ContentsNorway's awakening 1862-1888: Bradford, Florida and Leipzig 1888-1889: With Grieg on the heights 1890-1891: 'C'est de la Norderie' 1892-1895: Norway lost 1896: Norway regained 1897: Front page news 1898-1902: Unshakeable self-belief 1903-1907: Breakthrough in Germany and England 1908-1912: Changes of direction 1912-1918: High hills, dark forests 1919-1934: Myth and reality in Lesjaskog Appendix I: List of visits to Norway Appendix II: Works with Norwegian and Danish texts and associations Selected bibliography and archival sources

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Book SynopsisGoethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms. That Goethe's poetry has proved pivotal for the development of the nineteenth-century Lied has long been acknowledged. Less acknowledged is the seminal impact in musical realms of Goethe's Faust, a work which has attractedthe attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century. While Goethe longed to have Faust set to musicand considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. Despite this, a floodtide of musical interpretations of Goethe's Faust came into existence from Beethoven to Schubert, Schumann to Wagner and Mahler, and Gounod to Berlioz; and a broad trajectory can be traced from Zelter's colourful description of the first setting ofGoethe's Faust to Alfred Schnittke's Faust opera (1993). This book explores the musical origins of Goethe's Faust and the musical dimensions of its legacy. It uncovers the musical furore caused by Goethe's Faust and considers why his polemical text has resonated so strongly with composers. Bringing together leading musicologists and Germanists, the book addresses a wide range of issues including reception history, the performative challenges of writing music for Faust, the impact of the legend on composers' conceptual thinking, and the ways in which it has been used by composers to engage with other contemporary intellectual concepts. Constituting the richest examination to date of the musicality of language and form in Goethe's Faust and its musical rendering from the eighteenth to twenty-first centuries, the book will appeal to music, literary and Goethe scholars and students alike. LORRAINE BYRNE BODLEY is Senior Lecturer in Musicology at Maynooth University and President of the Society for Musicology in Ireland. Contributors: Mark Austin, Lorraine Byrne Bodley, NicholasBoyle, John Michael Cooper, Siobhán Donovan, Osman Durrani, Mark Fitzgerald, John Guthrie, Heather Hadlock, Julian Horton, Ursula Kramer, Waltraud Meierhofer, Eftychia Papanikolaou, David Robb, Christopher Ruth, Glenn Stanley, Martin Swales, J. M. TudorTrade Review[A] a valuable collection of essays that reflect the multilayered character of Goethe's Faust. It is an essential text for libraries that serve research and teaching needs at the postsecondary level and a fine addition to personal collections. * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Table of ContentsIntroduction: Rhapsody and Rebuke: Goethe's Faust in Music - Lorraine Byrne Bodley The Redress of Goethe's Faust in Music History - Lorraine Byrne Bodley Wagering on Modernity: Goethe's Eighteenth-Century Faust - Nicholas Boyle Reflectivity, Music and the Modern Condition: Thoughts on Goethe's Faust - Martin Swales Music and Metaphorical Thinking in Goethe's Faust: The Example of Harmony - J Tudor Faust: The Instrumentalisation of an Icon - Osman Durrani Faust's Schubert: Schubert's Faust - John Michael Cooper The Musical Novel as Master-Genre: Schumann's Szenen aus Goethes Faust - The Psychology of Schumann's Faust: Developing the Human Soul - Christopher Ruth A Life with Goethe: Wagner's Engagement with Faust in Music and in Words - Glenn Stanley Wagner's Ninth: Reading Beethoven with Faust - Mark Austin Linking Christian and Faustian Utopias: Mahler's Setting of the Schlußszene in his Eighth Symphony - Eftychia Papanikolaou Operatic Translation and Adaptation: Gounod's Faust, with a Tribute to Ken Russell - Siobhan Donovan Adapters, Falsifiers and Profiteers: Staging La Damnation de Faust in Monte Carlo and Paris, 1893-1903 - Heather Hadlock Faust in the Trenches: Busoni's Doktor Faust - Mark Fitzgerald As Goethe Intended? Max Reinhardt's Faust Productions and the Aesthetics of Incidental Music in the Early 20th Century - Ursula Kramer Music and the Rebirth of Faust in the GDR - David Robb Music, Text and Stage: Peter Stein's Production of Goethe's Faust - John Guthrie 'Devilishly good': Rudolf Volz's Rock Opera Faust and 'Event Culture' - Waltraud Maierhofer Select Bibliography

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Book SynopsisThis first full biography of Edward J. Dent (1876-1957), Cambridge Professor of Music and foremost musicologist, tells the story of a remarkable man who played a crucial role in the formation of twentieth-century culture and cultural institutions. Operating at both personal and international levels, Dent knew and quietly influenced musicians, poets, artists, writers, politicians, theatrical producers and designers, including Busoni, E.M. Forster, Sassoon and Maynard Keynes. The book covers not only his pioneering music scholarship and cultural activities but also his personal crusades on behalf of music and opera, gays, refugees and the culturally destitute. Drawn from a wide variety of unpublished sources, from behind Dent's carefully constructed public persona of a cosmopolitan gentleman scholar the picture emerges of a more complex and fascinating human being: a lifelong pacifist and agnostic; a scion of the upper classes who voted Labour; 'the kindest heart and the wickedest tongue in Cambridge', who always helped friends in need; a natural rebel and iconoclast; an English internationalist. His seminal books and articles remain fresh and vital and his writing hugely entertaining, while his ideas on the importance of the arts in everyday life are as relevant as ever. Dent's fundamental belief in 'training the imagination' and in personal friendships, along with his lifelong quest to 'understand all music', kept music and the arts alive through the most dire periods in the last century and into our own.Table of ContentsIntroduction: Edward J. Dent: Another Kind of Genius 1: The Ribston Pippin 1876-1894 2: The Bumptious Undergraduate 1895-1899 3: The Accidental Scholar 1899-1901 4: The Travelling Fellow 1901-1907 5: The Wanderer 1906-07 6: The 'New Spirit' 1907-1910 7: The Impresario 1910-1914 8: The Pacifist 1914-1918 9: The Journalist 1919-1922 10: The International Musician 1922-1926 11: The Professor 1926-1931 12: The Juggler 1931-1934 13: The Beleaguered Diplomat 1935-36 14: The Colonial Doctor 1936-39 15: Titurel 1939-1945 16: Tityvillus 1946-1957 Afterword Appendix: Dent's Ulcer Select Bibliography Index

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Book SynopsisA study of the ways in which topics of English history were central to conceptions of English identity, musical and otherwise, during the Victorian and Edwardian periods This study explores the ways in which topics of English history were central to conceptions of English identity, musical and otherwise, during the Victorian and Edwardian periods. Its focus is on the masque, an early modern English musico-dramatic genre that was reinvented during the Victorian period as a vehicle for nationalistic, historically inflected popular entertainments. The masque operated as an "invented tradition", in the sense theorized by EricHobsbawm, and was used to connect the modern nation of Britain to its historical past. As conceptions of national identity became increasingly dependent on the image of "Merrie England" located in the English Renaissance and in the folk traditions of the countryside, genres such as the masque that were integrally connected to these ideological constructions became important ways in which national identity was represented. This in turn had profound ramifications for the ideologies of the English Musical Renaissance and its construction of a national musical idiom at the turn of the twentieth century. DEBORAH HECKERT is a Lecturer at Stony Brook University and has taughtat the University of Virginia, Utah State University, and Brooklyn College-CUNY.Trade ReviewInteresting and valuable. * FOLK MUSIC JOURNAL *A strong addition to this already fruitful series...at the heart of the study is an original exploration of a genre that has received little scholarly attention...a useful study for music and theatre students, musicologists, and historical performers who are keen to broaden their knowledge of the English revivalist movement. * BRITISH ASSOCIATION FOR VICTORIAN STUDIES NEWSLETTER *[S]erves as a valuable case study of how cultural products can reflect the broader concerns of their times . . . will be most useful for specialists since Heckert's writing style is geared towards scholars of musicology, modern British history, and cultural history. Summing Up: Recommended. * CHOICE *Table of ContentsVaughan Williams, Stratford's masque and the wellsprings of England's music 'With revel dance and song': The Musical Image of History in the Victorian Masque The Past speaks in English: Historiography and the Masque Revival Making the Commonwealth a Harmony: The Masque, the Folk Revival and Pageant Culture 'The Heroic Past and the Earth his Mother': The Reticence of Reception and the Burden of Imperialism 'A typically English institution': The Masque after the First World War Appendix One: Chronology of Masque Compositions during the 19th century Appendix Two: Chronology of Masque Historiography prior to 1930 Appendix Three: Chronology of British Masque Compositions, 1901-1950 Appendix Four: Review of Pan's Anniversary from the Stratford-upon-Avon Herald, 28 April, 1905 Bibliography

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Book SynopsisDescribed in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Described in the Radio Times (27 July 2015) as 'A remarkable, unique institution lying at the heart of British life', the Three Choirs Festival celebrated its three-hundred-year anniversary in 2015. Rotating each summer between the English cathedral cities of Hereford, Gloucester and Worcester, the Festival is a week-long programme of choral and orchestral concerts, cathedral services, solo and chamber music recitals, master classes, talks, theatre and exhibitions. At the heart of the modern festival are the daily services of Choral Evensong, representing the tradition of Anglican music and liturgy, and the large-scale evening concerts featuring established favourites of the British classical choral tradition with works drawn from a broader, more international musical canvas. Many special commissions and other works, including compositions by British composers such as Jonathan Harvey, James Macmillan, Judith Bingham and John McCabe, and composers from abroad, such as Gerard Schurmann, Jackson Hill and Torsten Rasch, have received their first performances at Three Choirs. Originally published in 1992, this revised edition bringsthe history of the oldest surviving non-competitive music festival in Britain thoroughly up to date. It traces the development of the Festival from its origins in the early eighteenth century to its tercentenary in 2015, along the way touching on many musical milestones - premieres by Parry, Elgar, Vaughan Williams, Saint-Saëns, Holst, and Howells, among others - and luminaries - Sullivan, Stanford, Dvorák, Delius, Bax, and Britten, to name but a few - associated with it. British music enthusiasts especially will find this new edition invaluable. ANTHONY BODEN is a writer with particular interests in music and literature. In 1989 he was appointed as Administrator of theGloucester Three Choirs Festival, a post he held until his retirement in 1999. In 1995 he became the founding Chairman of the Ivor Gurney Society, of which he was elected President in 2015. His other books include Thomas Tomkins: The Last Elizabethan (2004) and The Parrys of the Golden Vale (1998). PAUL HEDLEY is a partner in Exart Performances, an Associate Fellow at the Saïd Business School, University of Oxford, has a PhD in theoretical linguistics, and spent five years as Chief Executive of the Three Choirs Festival.Trade ReviewToday the festival remains one of very few with the major choral repertoire at its heart, and amongst its distinguishing features has been its consistent fostering of contemporary British music, with a natural emphasis on composers with local links, headed by the remarkable cluster of Parry, Elgar, Holst, Vaughan Williams and Howells. * BRIO *One of the many joys of the book is the large number of contemporary reviews covering every aspect of the Festivals...a treasure trove of detail...it must now be the 'really definitive' history of one of the 'Essentially English Institutions'. * THE ORGAN *Beautifully written and lavishly illustrated, this history is laden with compelling insights, many of them as amusing as they are revealing. We are treated to beguiling pen portraits of diverse characters whose creative work is part of our national consciousness...this human aspect above all makes the book hard to put down. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *What better way to celebrate such a resilient and quintessentially English musical institution than by acquiring this comprehensive historical account of the Three Choirs Festival...this handsome book will appeal particularly to British music enthusiasts. * GRAMOPHONE *This book, makes for fascinating reading and is an invaluable book, for not only musicians, music lovers, festival attendees, but anyone really interested in the musical arts of Britain. -- Peter Byrom-Smith * THE BRITISH MUSIC SOCIETY *[A] scrupulously detailed history of The Three Choirs Festival...Priceless! * BBC MUSIC MAGAZINE *Brings us truly up to date with the ups and downs of an institution already more than three centuries old -- and fortunately there are more ups. * BIRMINGHAM POST *Highly readable...The product of evidently thorough research. An absorbing and invaluable record of one of Europe's most distinguished music festivals. * MUSICWEB *Table of ContentsOrigins A Fortuitous and Friendly Proposal A Numerous Appearance of Gentry 'The Musick of my Admiration Handel' The Gentlemen and the Players Avoiding Shipwreck Prima Voce Favourites and Flops Sacred and Profane Froissart The Unreasonable Man The Dream Beyond These Voices An Essentially English Institution The Elgar Festivals Dona Nobis Pacem Recovery Association A New Epoch Jubilee Theme with Variations Houses of the Mind A Gold-Plated Orchestra A New Millenium Reorganisation An Invitation to the Palace Appendix: Three Choirs Festival Timeline

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Book SynopsisBringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015. British composer Simon Holt (b. 1958) has been a leading presence in contemporary music since the early 1980s and Kites. His output is diverse, comprising chamber music, concertos for diverse instruments, songs, piano musicand opera. Holt is a composer who demands unusual commitment from his interpreters - the intricate sound-worlds he creates often contain complex, rich textures, offset by 'still centres' - for the purpose of making music which speaks with extraordinary power. Bringing together well-known writers with composers and performers, this volume gives a complete overview of Holt's creative work up to 2015 and Fool is hurt. It uses a variety of approaches to help readers, listeners and players to find ways into the pieces and to understand the influence of visual art and poetry on Holt's work. Colour illustrations, music examples, tables and sketch facsimiles offer a rounded impression of Holt's inspiration and thought to date. Also included are a wide-ranging conversation between Simon Holt and the artist Julia Bardsley, and a text by the conductor Thierry Fischer. The volume also offers the first detailed catalogue of Holt's compositions, drawn up together with the composer. It reveals that the last twenty years have seen no slowing-up in his rate of creative production, notwithstanding that the nature of his writing has changed during this time. DAVID CHARLTON is Professor Emeritus of Music History, Royal Holloway, University of London. Contributors: JULIA BARDSLEY, DAVID BEARD, DAVID CHARLTON, THIERRY FISCHER, ANTHONY GILBERT, STEPHEN GUTMAN, MELINDA MAXWELL, RICHARD MCGREGOR, STEPH POWER, PHILIP RUPPRECHT, SIMON SPEARE, REBECCA THUMPSTON, EDWARD VENNTrade Review[T]he essays in this collection offer an overdue investigation of [Holt's] style, methods, and artistic viewpoint. They form a useful resource for those concerned with Holt's music as well as those interested in British art music at the turn of the millennium, or in composers of texture, timbre, and gesture. The variety of perspectives represented by the authors for this volume's greatest strength. . . . [A]pplicable to a wide readership. NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION This collection of essays is especially enlightening and is the first to finally provide detailed information about Holt's compositions. . . . [T]his pioneering text will no doubt provide a significant foundation for future Holt studies . . . [and] will inspire future discussions and analyses of the composer's music. * NABMSA REVIEWS *A deeply rewarding book...There is no better test of a book on music than this: that it should demand the reader to listen, play and deepen his or her acquaintance with music discussed. This ultimate objective this remarkable book delivers in abundance. * SPIRITED, THE GAZETTE OF THE ENGLISH MUSIC FESTIVAL *This beautifully produced volume takes the evidence of composers, critics and performers (especially revealing chapters by pianist Stephen Gutman and a conversation on the orchestral pieces between the editor David Charlton and conductor Thierry Fischer) in illuminating Holt's remarkable varieties of sonic painting. He can make us think in startlingly new ways about 'colour' represented through harmonic and chordal statements, or about how narrative can be understood through music...A splendid homage to an extraordinary creative talent. * CLASSICAL MUSIC *Simon Holt is a leading presence in contemporary music...With a generous array of colour-plates and numerous musical examples, the book is a richly-textured resource. * BBC MUSIC MAGAZINE *Table of ContentsIntroduction: Memories of Magical Moonlight: Simon Holt's years as a composition student - Anthony Gilbert Duende y Duelos: the Andalusian spirit in the Lorca settings - Anthony Gilbert An Interplay of Passion and Spirit: The Nightingale's to Blame - Images in Sound: Movement, Harmony and Colour in the Early Music - Philip Rupprecht Myth and Narrative in 3 for Icarus - Edward Venn Sound, Sense and Syntax: The Emily Dickinson Settings - Steph Power Piano music - Stephen Gutman Redefining the cello's voice: Musical agency in feet of clay - Rebecca Thumpston Performance and reflections: Holt's music for oboe and cor anglais - Melinda Maxwell Shaking the Bars: The Yellow Wallpaper - Steph Power Listening to the River's Roar: Stance, Texture and Space in the Concertos - David Beard Orchestral Works in Performance - Thierry Fischer Oblique themes and still centres: a conversation between Julia Bardsley and Simon Holt - Julia Bardsley Sketching and Idea-Gathering - Simon Speare Art, Conceptualism and Politics in Holt's music - David Charlton Appendix A: Overview and Catalogue of Pieces - David Charlton Appendix B: Texts by Simon Holt for Raju Raghuvanshi is a ghost and The Legend of Melusine Bibliography

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Book SynopsisThe first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.Trade ReviewA solid, well-researched study of an important genre during a crucial period in its history. * THE NORTHERN MARINER/LE MARIN DU NORD *November's study of earlier nineteenth-century Vienna shows us above all a richly varied, often uncategorisable, musical and social culture founded to a significant degree on sheer pleasure, combining the sensual, the sociable, and the intellectual. It has much to offer musicologists, performers, and Liebhaber und Liebkenner. * BRIO *Table of ContentsIntroduction Defining Chamber Music in the Early Nineteenth Century Celebrating Haydn, Cultivating Opera Selling String Quartets in Beethoven's Vienna Locating String Quartets in Beethoven's Vienna Early Nineteenth-Century Performance and Criticism Sociability, Showmanship, and Study: 'Quartet Friends' The String Quartet and the Listener Schubert's Song, Beethoven's Theatricality Epilogue: Constructing 'Viennese Chamber Music' Bibliography

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Book SynopsisGranville Bantock's letters to the Scottish composer William Wallace and the music critic Ernest Newman provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism. British music and musical life before the Great War have been relatively neglected in discussions of the idea of the 'modern' in the early twentieth century. This collection of almost 300 letters, written by Granville Bantock (1868-1946) to the Scottish composer William Wallace (1860-1940) and the music critic Ernest Newman (1868-1959) places Bantock and his circle at the heart of this debate. The letters highlight Bantock's and Wallace's development of the modern British symphonic poem, their contribution (with Newman) to music criticism and journalism, and their attempts to promote a young generation of British composers - revealing an early frustration with the musical establishment. Confirming the impact of visits to Britain by Richard Strauss and Sibelius, Bantock offers opinions on a range of composers active around the turn of the twentieth century, identifying Elgar and Delius as the future for English music. Along with references to conductors, entertainers and contemporary writers (Maeterlinck, Conrad), there are fascinating details of the musical culture of London, Liverpool and Birmingham - including programming strategies at the Tower, New Brighton, and abortive plans to relaunch the New Quarterly Musical Review. Fully annotated, the letters provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism. MICHAEL ALLIS is Professor of Musicology at the School of Music, University of Leeds.Trade ReviewOverall, the letters illustrate just how central a figure Bantock was in British musical life at the start of the twentieth century. . . . Consequently, this book is essential reading for all musicologists working on early twentieth-century British music, but it also offers a fascinating window through which to view the musical culture of the time more generally. -- Peter Atkinson * NOTES, JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *A fascinating study of these three men at a 'crucial stage of their careers...highlights many troubles and tensions in music of the period: the future and purpose of the symphonic poem, the plight of opera in Britain, and the difficulties of suitable training for musicians. * MUSIC & LETTERS *Excellent...the collection is a veritable treasure trove for those wanting to know more about the composers and musical tastes and programming of that era of British music performance. * FONTES ARTIS MUSICAE *Allis identifies and brings out a consistent theme in the correspondence, provides a helpful context for the letters, and fills in the holes that result in reading one side of a discussion without over explaining or diminishing the impact of the correspondence. This book serves as a model for publishing a collection of letters and fills an important gap in scholarship on these three figures as well as British music around the turn of the twentieth century. * NABMSA *A pleasure to read...this is certainly a worthwhile addition to the bookshelves of anyone who enjoys reading about early 20th century music in Britain. * THE DELIUS SOCIETY JOURNAL *Table of ContentsIntroduction The Letters Select Bibliography Index

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Book SynopsisThis collection uncovers how music criticism contributed to national and transnational preoccupations and agendas. Music Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation. This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences. Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today. BARBARA L. KELLY is Director of Research and Professor of Musicology at the Royal Northern College of Music, Manchester. CHRISTOPHER MOORE is Associate Professor of Musicology at the University of Ottawa. Contributors: PHILIPPE CATHÉ, MICHEL DUCHESNEAU, KIMBERLY FRANCIS, JACINTHE HARBEC, BARBARA L. KELLY, PASCAL LÉCROART, CHRISTOPHER MOORE, RACHEL MOORE, JANN PASLER, CAROLINE RAE, DANICK TROTTIER, MARIANNE WHEELDONTrade Review[T]he first detailed study of its kind . . . . Ultimately, what emerges from [this book] is not only a thought-provoking and highly variegated impression of the roles and activities of French music criticism in the 1920s and 30s but also a clear sense of the importance of the study of the discourse of music criticism within musicology that is also part of a broader context of sociopolitical and cultural history. -- Alexander Carpenter * NOTES, THE QUARTERLY JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Useful to anyone seeking an overview of the facts relating to music criticism in the interwar period. * REVUE DE MUSICOLOGIE *Table of ContentsIntroduction: The Role of Criticism in Interwar Musical Culture - Christopher Moore and Barbara L. Kelly Music Criticism and Aesthetics during the Interwar Period: Fewer Crimes and More Punishments - Michel Duchesneau Nostalgia and Violence in the Music Criticism of L'Action française - Christopher Moore Charles Koechlin: The Figure of the Expert - Philippe Cathé Bleu-horizon Politics and Music for Radio Listeners: L'Initiation à la musique (1935) - Jann Pasler Common Canon, Conflicting Ideologies: Music Criticism in Performance in Interwar France - Barbara L. Kelly Arthur Honegger: Music Critic for Musique et Théâtre (1925-1926) - Pascal Lécroart A Woman's Critical Voice: Nadia Boulanger and Le Monde musical, 1919-1923 - Kimberly Francis From a Foreign Correspondent: the Parisian Chronicles of Alejo Carpentier - Caroline Rae Debussy's 'Reputational Entrepreneurs': Vuillermoz, Koechlin, Laloy, and Vallas - Marianne Wheeldon The Legacy of War: Conceptualising Wartime Musical Life in the Post-War Musical Press, 1919-1920 - Rachel Moore Jacinthe Harbec, Satie, Relâche and the Press: Controversies and Legacy - Jacinthe Harbec Creating a Canon: Émile Vuillermoz's Musiques d'aujourd'hui and French Musical Modernity - Danick Trottier Bibliography

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Book SynopsisBritten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. This book takes a unique approach to Britten, drawing together well-known Britten experts alongside English, music, modern language andhistory scholars who bring their own perspective to bear on Britten's work. Chapters examine all aspects of Britten's text setting, from his engagement with a wide variety of poetry to his relationship with his librettists. By approaching Britten's operas and songs through their literature, this book offers fresh insights into his vocal works. KATE KENNEDY is the Weinrebe Research Fellow in Life-writing at Wolfson College, Oxford, where she is an associate of both Music and English Faculties. She is a frequent broadcaster for the BBC and specialises in interdisciplinary biography and has published widely on twentieth century music and literature. Contributors:JOANNA BULLIVANT, PHILIP ROSS BULLOCK, NICHOLAS CLARK, MERVYN COOKE, DAVID FULLER, JOHN FULLER, PETER HAPPÉ, J. P. E. HARPER-SCOTT, JOHN HOPKINS, KATE KENNEDY, ADRIAN POOLE, HANNA ROCHLITZ, PHILIP RUPPRECHT, REBEKAH SCOTT, VICKISTROEHER, JUSTIN VICKERS, LUCY WALKER, BRIAN YOUNGTrade ReviewThis authoritative collection of studies on a composer steeped in literature ancient and modern should engage the interest not just of Britten specialists but of all those fascinated by the theory and practice of setting words to music. * FORUM FOR MODERN LANGUAGE STUDIES *Of particular interest are the essays that illuminate Britten's compositional methods of setting text, methods that have their origin in his intimate interaction with a wide variety of poetic and literary works. . . . Highly recommended. -- M. Neil emeritus * CHOICE *This is a comprehensive book of essays, illustrations and musical examples...It teems with perspectives, engrossing facts and excerpts from scores and will certainly make an informative read for Brittenites of all persuasions - from the amateur enthusiast through to the seasoned academic. * BRITISH MUSIC SOCIETY NEWSLETTER *Table of ContentsIntroduction - Kate Kennedy Britten and His Librettists: The Composer as Auteur - Mervyn Cooke Britten, Auden and the 1930s - John Fuller James, Britten, Piper and the Literary Supernatural: The Changing 'vision of evil' in The Turn of the Screw and Owen Wingrave - Nick Clark 'Thought's Wildernesses': The Development of Britten's Nocturne from Library to Score - Kate Kennedy 'Reading at Intervals': Britten's Romantic Poetry - Brian Young Britten's Drops: The Lyric into Song - Rebekah Scott 'Without any tune': The Role of the Discursive Shift in Britten's Interpretation of Poetry - Vicki P. Stroeher Britten and Modern Tragedy - Adrian Poole Settings from Boyhood - Lucy Walker 'Practical Jokes': Britten and Auden's Our Hunting Fathers Revisited - Joanna Bullivant Choice and Inevitability: The Moral Economy of Peter Grimes - Philip Ross Bullock Sin, Death, and Love: Britten's Holy Sonnets of John Donne - David Fuller Britten's Donne Meditation - Justin Vickers Scenes from Britten's Spring Symphony - Philip Rupprecht 'I have read Billy Budd': The Forster-Britten reading(s) of Melville - Hanna Rochlitz Miles Must Die: Ideological Uses of 'innocence' in Britten's The Turn of the Screw - Benjamin Britten and Medieval Drama at Chester: From Abraham and Isaac to 'The Nativity' - Peter Happe Ambiguous Venice - John Hopkins Bibliography

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Book SynopsisThis Companion provides a comprehensive analysis and appraisal of all of Scott's available (published and unpublished) music and a broad picture of his entire output in literary, dramatic and philosophical genres. Cyril Scott (1879-1970) was an English composer, writer and poet. He was a prolific composer-pianist writing over 400 works including four symphonies, three operas and concerti for piano, violin, cello, oboe and harpsichord. Oftenperforming his own compositions he became a pioneer of British piano music, and his music was admired by composers as diverse as Debussy, Strauss, Stravinsky and Percy Grainger, the last a lifelong friend. A true polymath, Scottwas also the author of forty-one books, including two autobiographies and one unpublished memoir, on subjects ranging from music, alternative medicine and humour to occultism, theosophy and Christianity. In addition, he wrote poems and plays and painted watercolours. This Companion explores the life and work of this remarkably creative man. It provides a comprehensive analysis and appraisal of all the available music and includes a complete catalogue of his musical works, along with a discography. Several works completely unknown to the musical world, both music and literary (such as the memoir 'Near the End of Life'), are here newly catalogued and discussed. Altogether, thevolume gives a broad picture of Scott's entire output in literary, dramatic and philosophical genres. LEWIS FOREMAN has published many books and articles on music. His Boydell titles include Bax: A Composer and hisTimes (2007), The John Ireland Companion (2011) and with Susan Foreman Felix Aprahamian (2015). DESMOND SCOTT is the son of Cyril Scott. He was an actor, theatre director and TV writer. He is also a sculptor and past-President of the Sculptors Society of Canada. He has contributed to The New Percy Grainger Companion (Boydell Press, 2010) and has published articles in musical journals on Cyril Scott. LESLIE DE'ATH isProfessor, Faculty of Music, Wilfrid Laurier University, Waterloo, Canada. He is Associate Editor of the Journal of Singing, a pianist, conductor and opera director. He has recorded Scott's complete solo piano music for Dutton. Contributors: PETER ATKINSON, MARTYN BRABBINS, LESLIE DE'ATH, PETER DICKINSON, LEWIS FOREMAN, KATHERINE HUDSON, VALERIE LANGFIELD , KURT LELAND, STEPHEN LLOYD, STEVEN MARTIN, ROHINTEN DADDY MAZDA, RICHARD PRICE, EDMUND RUBBRA, DESMOND SCOTT, MARTIN YATESTrade ReviewSuperb...well worth the read for scholar and layman alike. It is a fascinating account of this master musician. * STRINGENDO, THE AUSTRALIAN STRINGS ASSOCIATION *Throughout its pages, the Companion brings new facts and insights to the fore. For many years to come it will remain the key reference work for those fascinated by this remarkable man and his music a true companion indeed! -- Bob Van der Linden * NABMSA REVIEWS *Very fine, informative and absorbing...One of English music's most enigmatic diverse and misunderstood figures. * SPIRITED, ENGLISH MUSIC FESTIVAL MAGAZINE *The Companion has clearly been a labour of love for all involved and it has paid off. It is elegantly laid out and illustrated with illuminating musical examples and photographic images. There is none of the impenetrable academic writing that so often mars books of this type and it is eminently readable. * BRITISH MUSIC SOCIETY *Table of ContentsPreface - Desmond Scott Foreword - Martyn Brabbins From Frankfurt with Love - friendships observed through correspondence and reminiscence - Stephen Lloyd Cyril Scott, Debussy and Stravinsky - Richard M Price Cyril Scott and the BBC - Lewis Foreman A Contemporary Composer's View of Cyril Scott's Music: 'The Subtle Composer of the Prize-winning Overture' - Edmund Rubbra 'Music for the Martians': Scott's reception and reputation at home and abroad - Peter Atkinson Rose Allatini: theme and variations - Desmond Scott Memories of the Man I Barely Knew - Desmond Scott Discovering, Editing and Recording Cyril Scott - Martin Yates 'Years of Indiscretion' - the early piano works, 1898 to 1909 - Leslie De'Ath 'Like a Bird Sings': the piano works from the Op 66 Sonata to World War I - Leslie De'Ath The Later Piano Works - Leslie De'Ath The Twenty-First Century Orchestral Recordings: the shock of the unknown - Peter Dickinson The Chamber Music - Kurt Leland Cyril Scott's Operas and Music for the Theatre - Steven Martin The Choral Works - Leslie De'Ath The Songs of Cyril Scott - Valerie Langfield The Poetry of Cyril Scott - Desmond Scott The Occult Writings - Kurt Leland The Purpose of 'The Boy Who Saw True' - Desmond Scott 'Near the End of Life: Candid Confessions and Reflections': a discussion of the memoir - Desmond Scott Cyril Scott's Theraputic Books - Desmond Scott Childishness or The Moron Mind - Desmond Scott A Note on the Plays of Cyril Scott - Desmond Scott Cyril Scott, a Personal Memory - Katherine Hudson Reminiscences of Cyril Scott - Rohinten Daddy Mazda BBC Ninetieth Birthday Tribute - Edmund Rubbra Appendix 1: The Songs: misprints and high/low voice variants - Valerie Langfield Appendix 2: Chronology of Works Published During Scott's lifetime - Leslie De'Ath Catalogue of Scott's Music - Leslie De'Ath and Desmond Scott Discography - Leslie De'Ath and Stephen Lloyd Scott's Opus Numbers - Leslie De'Ath Scott's Non-Musical Writings - Leslie De'Ath Select Bibliography

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Book SynopsisFirst full comprehensive guide to one of the most important genres of music in the Middle Ages. Motets constitute the most important polyphonic genre of the thirteenth and fourteenth centuries. Moreover, these compositions are intrinsically involved in the early development of polyphony. This volume - the first to be devotedexclusively to medieval motets - aims to provide a comprehensive guide to them, from a number of different disciplines and perspectives. It addresses crucial matters such as how the motet developed; the rich interplay of musical,poetic, and intertextual modes of meaning specific to the genre; and the changing social and historical circumstances surrounding motets in medieval France, England, and Italy. It also seeks to question many traditional assumptions and received opinions in the area. The first part of the book considers core concepts in motet scholarship: issues of genre, relationships between the motet and other musico-poetic forms, tenor organization, isorhythm, notational development, social functions, and manuscript layout. This is followed by a series of individual case studies which look in detail at a variety of specific pieces, compositional techniques, collections, and subgenres. JARED C. HARTT is Associate Professor of Music Theory at the Oberlin College Conservatory of Music. Contributors: Margaret Bent, Jacques Boogaart, Catherine A. Bradley, Alice V. Clark, Suzannah Clark, KarenDesmond, Lawrence Earp, Sarah Fuller, John Haines, Jared C. Hartt, Elizabeth Eva Leach, Dolores Pesce, Gaël Saint-Cricq, Jennifer Saltzstein, Matthew P. Thomson, Stefan Udell, Anna Zayaruznaya, Emily ZazuliaTrade Review[A]n ideal textbook for an in-depth study of the motet, a true companion guiding students and scholars chapter by chapter through the study of the music, texts, sources, interpretive methodologies, analytical techniques, musical and social contexts, and the thought and aesthetics of the era. -- Jennifer Thomas * SPECULUM *This impressive volume features scholarly experts critically engaging with the evolution of the Medieval motet . . . [and tackles] questions of genre, origins, composition, chant, notation, function, manuscript culture, language, style, the influence of important composers and collections, and more. . . . A Critical Companion to Medieval Motets is an excellent introduction to fascinating topics in early musicology, thoroughly investigating the Motet from angles that will intrigue anyone interested in Medieval music. -- Samantha Bassler * EARLY MUSIC AMERICA *[H]ighly admirable. . . . [T]his volume stands as a central guide to future work on the medieval motet -- indeed, medieval musicology as a whole will need to account for arguments made throughout its pages. -- Mary Channen Caldwell * RENAISSANCE QUARTERLY *A welcome addition to the literature on music of the thirteenth and fourteenth centuries. * BRIO *An important re-evaluation of the motet as a sophisticated and multi-layered cultural phenomenon with a complex history, an art form enjoyed not only as music, but also appreciated in written form as a mark of education and as a status symbol. This book is surely a must-have for any university with a music library, and for all serious scholars of medieval music. * THE CONSORT *[A] very detailed and welcome scholarly resource on the most important polyphonic genre of the 13th and 14th centuries. -- B. L. Eden, Valparaiso UniversityTable of ContentsIntroduction: Approaching Medieval Motets - Jared C. Hartt The Genre(s) of Medieval Motets - Elizabeth Eva Leach Origins and Interactions: Clausula, Motet, Conductus - Catherine Bradley Tracing the Tenor in Medieval Motets - Alice V. Clark Isorhythm - Lawrence Earp Notations - Karen Desmond Thirteenth-Century Motet Functions: Views through the Lens of the Portare Motet Family - Dolores Pesce A Prism of its Time: Social Functions of the Motet in Fourteenth-Century France - Jacques Boogaart Motets, Manuscript Culture, Mise-en-page - John Haines and Stefan Udell Clerics, Courtiers, and the Vernacular Two-Voice Motet: The Case of Fines amouretes/Fiat and the Roman de la poire - Jennifer Saltzstein When Words Converge and Meanings Diverge: Counterexamples to Polytextuality in the Thirteenth-Century Motet - Suzannah Clark Motets in Chansonniers and the Other Culture of the French Thirteenth-Century Motet - Gaël Saint-Cricq Building a Motet around Quoted Material: Textual and Musical Structure in Motets based on Monophonic Songs - Matthew P. Thomson The Duet Motet in England: Genre, Tonal Coherence, Reconstruction - Jared C. Hartt Materia Matters: Reconstructing Colla/Bona - Anna Zayaruznaya Machaut's Motet 10 and Its Interconnections - Margaret Bent A Motet Conceived in Troubled Times: Machaut's Motet 22 - Sarah Fuller A Motet Ahead of Its Time? The Curious Case of Portio nature/Ida capillorum - Emily Zazulia Bibliography of Works Cited

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Book SynopsisOffers an intimate view of a contemporary composer's creative world and how others may interpret it. Howard Skempton has contributed to British musical life for more than half a century, as composer, performer and commentator. His music is characterised by simplicity yet sophistication and is appreciated by lay and specialist listeners in equal measure. Skempton studied in London with Cornelius Cardew in the late 1960s, co-founding the Scratch Orchestra, and has written over 600 pieces since then, informed by and informing compositional trends. His outputincludes pieces for solo piano, accordion, cello, and guitar, chamber ensemble, orchestra, and voice. His music is performed by leading artists and recorded by, amongst others, Sony and NMC. This book offers an intimateview of a composer's creative world and how others may interpret it. It is not a conventional "life and works" though it contains a timeline, authorised work list and discography for orientation. It is written for anyone interested in contemporary music and (auto)biography, whether performer, listener, specialist, or student. The first four chapters comprise transcripts of conversations between Skempton and Esther Cavett followed by reflections from different commentators (respectively Matthew Head, Heather Wiebe, Arnold Whittall and Pwyll Ap Siôn). Skempton and Cavett discuss his musical origins, the wide array of musical and extra-musical influences on his music, his early adult life in London, his compositional development and processes, and how he teaches composition. The reflections are rich and wide-ranging, providing biographical, cultural and aesthetic insights and including close readings of keyscores. The penultimate chapter draws upon voices of Skempton's performers (Peter Hill, Thalia Myers, John Tilbury and James Weeks). To close, Cavett reflects on how Skempton told his story and the process of describing a creative life in music. The book includes manuscripts of six previously unpublished compositions and images of Skempton and his collaborators. ESTHER CAVETT is Senior Research Fellow at King's College, London. MATTHEWHEAD is Professor of Music at King's College, London. CONTRIBUTORS: Esther Cavett, Rosie Clements, Luke Deane, Matthew Head, Peter Hill, Thalia Myers, Howard Skempton, Pwyll Ap Siôn, John Tilbury, James Weeks, HeatherWiebe, Arnold Whittall.Trade ReviewIntriguing. * BRITISH MUSIC SOCIETY *Table of ContentsIntroduction Conversation One, 20 July 2016. Childhood and teenage years Reflection One. Music and/as home - Matthew Head Conversation Two, 4 August 2016. The music from A Humming Song (1967) to Lento (1990) Reflection Two. Skempton and experimentalism - Heather Wiebe Conversation Three, 18 August 2016. Becoming established, and the music after Lento (1990) Reflection Three. "Strangely simple": Howard Skempton's composing - Conversation Four, 23 August 2016. On teaching composition Lessons were "magical": Skempton's composition students (with Luke Deane) Testimony from Rosie Clements about her studies with Howard Reflection Four. "Not a lot spoken, but a lot said": Skempton as teacher and composer - Pwyll Ap Siôn Performing (with Peter Hill, Thalia Myers, John Tilbury, James Weeks and Howard Skempton) The story of the story - Esther Cavett After-image: A reflection on a reflection - Howard Skempton Appendix One. Authorised worklist Appendix Two. Discography Select bibliography

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Book SynopsisKitty Clive (1711-1785) was a top London stage star. She dominated spoken as well as musical comedy. From the 1740s onwards, her reputation suffered a sharp decline. For anyone curious about star production in eighteenth-century Britain, her story is not to be missed. Kitty Clive (1711-1785) was a top London stage star. Singing powered her ascent and, for twenty years, was foundational to her success as she came to dominate spoken as well as musical comedy. Her protean powers transfixed audiences, whether in low-style productions or in works by masters like Purcell, Shakespeare, and Dryden. Celebrities such as Handel and Henry Fielding wrote vehicles for her. Clive's career was unique. Despite a sometimes awkward biography - her father was a disgraced Irish Catholic; she defied managers; her marriage was almost certainly a social ruse and her 'husband' a homosexual - her musical voice helped her to become the champion of British song, of patriotism, and of propriety. Yet in the 1740s, critical opinion turned against Clive and the financial power she wielded. Salvaging her career with David Garrick's help, Clive gutted her legacy. She quit serious song and took to caricaturing herself on stage, winning back audiences by disparaging her earlier achievements. Altering works mid-performance, creating and re-shaping stage genres, and leveraging press coverage while seeming not to, she was above all a shrewd manager and a fascinating stage artist. Clive's career reveals to us gorgeous song otherwise lost and perspectives previously unknown. For music historians, musicologists, theatre scholars, and anyone curious about performance history and star production in eighteenth-century Britain, her story is not to be missed. BERTA JONCUS is Senior Lecturer in Music at Goldsmiths, University of London.Trade ReviewBerta Joncus's brilliant new book . . . compels us to imagine London's rich musical scene through the eyes and voice of one of the century's most extraordinary performers, Kitty Clive (1711-1785). . . . Readers . . . will be fascinated by this beautifully written biography, full of intriguing anecdotes and astute cultural criticism, where backstage gossip on one page is followed by keen musical analysis on the next. Moreover, singers will discover an entirely new repertoire to explore, one that puts the music of Handel and his contemporaries into a much clearer focus. Clive is a heroine for all generations, and Berta Joncus is to be praised for letting us hear her voice so clearly today. -- Wendy Heller * EARLY MUSIC AMERICA *[An] engrossing history...dubbed the 'songbird of Drury Lane', Clive performed an extraordinary range of musical styles to great acclaim...Joncus gives a fascinating account...painstakingly researched yet written in lively and dynamic prose. * BBC MUSIC MAGAZINE *[A] welcome study...Joncus invites us to think harder about what was heard and how music and vocal delivery shaped audience responses. * TIMES LITERARY SUPPLEMENT *An exhaustive study of Clive's character and work; her roles and songs; her rise and fall; her feminist ambitions...a monumental, worthy, many-sided and richly detailed monograph, providing a strong portrait of Clive as a distinguished actress-songster in Handel's times. * HANDEL NEWS *Berta Joncus has masterfully described the career of singer-actress-playwright Catherine Clive, a neglected star of the eighteenth-century English and Irish theatres from a charismatic ingénue songstress into a plump, carping older woman. Beginning with the acknowledgement that Clive shaped her own public image, Joncus details this stunningly important career with a much-needed emphasis on theatrical music. This brilliant book highlights the triumphs and challenges facing a talented, determined woman in an age that regularly satirized the second sex. -- Felicity Nussbaum, Distinguished Research Professor, University of California, Los Angeles[Kitty Clive] is a quite extraordinary story with many applications for the study of celebrity today - the construction of star power, what happens to powerful women as they age and lose attractiveness, how the intricacies of complex networks of obligation, reciprocity and expectation are navigated. More particularly, it is a must for readers with a special interest in English singers and repertoire of the 18th century. -- Lisa MacKinney * Limelight Magazine *Kitty Clive...receives a thorough, scholarly investigation in this volume.... Joncus...has brought to vivid life a theatrical world at once remote and familiar, and a star who used and was abused by that same system. -- Judith Malafronte * Opera News *Kitty Clive, or the Fair Songster is essential reading for anyone interested in the eighteenth-century London stage and the wider culture that it represented and that shaped it. A star is re-born. -- John Cunningham * Eighteen-Century Studies *Table of ContentsThe Siren Song: Kitty Clive in the Playhouse 'The Lovely Virgin tun'd her Voice': Henry Carey and the Production of a Native Songster 'Charm'd with the sprightly Innocence of Nell': The Metamorphosis of Miss Raftor 'HINT writes and RAFTOR acts in Drury-lane': Clive, Fielding and Theophilus Cibber 'The pious Daughter, and the faithful Wife': Fielding, Miller and Clive, 1733-35 'A Likeness where none was to be found': Contested Images of Clive, 1734-1737 The Patriot Soprano: British Worthies at Drury Lane Handel and the Sweet Bird of Drury Lane, 1740-43 The Case of Mrs. Clive Of Scuffles and Rivalries: The Demise of 'Kitty Cuckoe' From Miss Lucy to Mrs Riot: Voice and Caricature Clive on Clive: The Rehearsal: Or, Bays in Petticoats Conclusion: The Fair Songster Appendix 1: Catherine Clive's Roles 1728-1769 Appendix 2: Line in Catherine Clive's Repertory 1728-1769 Appendix 3: The Case of Mrs. CLIVE (1744) Select Bibliography

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Book SynopsisThe complex relationship between myths and music is here investigated. Myths and stories offer a window onto medieval and early modern musical culture. Far from merely offering material for musical settings, authoritative tales from classical mythology, ancient history and the Bible were treated as foundations for musical knowledge. Such myths were cited in support of arguments about the uses, effects, morality and preferred styles of music in sources as diverse as theoretical treatises, defences or critiques of music, art, sermons, educational literature and books of moral conduct. Newly written literary stories too were believed capable of moral instruction and influence, and were a medium through which ideas about music could be both explored and transmitted. How authors interpreted and weaved together these traditional stories, or created their own, reveals much about changing attitudes across the period. Looking beyond the well-known figure of Orpheus, this collection explores the myriad stories that shaped not only musical thought, but also its styles, techniques and practices. The essays show that music itself performed and created knowledge in ways parallel to myth, and worked in tandem with old and new tales to construct social, political and philosophical views. This relationship was not static, however; as the Enlightenment dawned, the once authoritative gods became comic characters and myth became a medium forridicule. Overall, the book provides a foundation for exploring myth and story throughout medieval and early modern culture, and facilitating further study into the Enlightenment and beyond. KATHERINE BUTLER is a seniorlecturer in music at Northumbria University; SAMANTHA BASSLER is a musicologist of cultural studies, a teaching artist, and an adjunct professor in the New York metropolitan area. Contributors: Jamie Apgar, Katie Bank, Samantha Bassler, Katherine Butler, Elina G. Hamilton, Sigrid Harris, Ljubica Ilic, Erica Levenson, John MacInnis, Patrick McMahon, Aurora Faye Martinez, Jacomien Prins, Tim Shephard, Jason Stoessel, Férdia J. Stone-Davis, Amanda Eubanks Winkler.Trade ReviewFascinating. * THE CONSORT *Table of ContentsIntroduction Music and the Myth of Apollo's Grove - John MacInnis The Consolation of Philosophy and the 'Gentle' Remedy of Music - Férdia J Stone-Davis And in England, There are Singers: Grafting Oneself into the Origins of Music - Elina G. Hamilton The Harmonious Blacksmith, Lady Music, and Minerva: The Iconographyof Secular Song in the Late Middle Ages - Jason Stoessel Foolish Midas: Representing Musical Judgement and Moral Judgement in Italy c.1520 - Tim Shephard Marsilio Ficino and Girolamo Cardano under Orpheus's Spell - Jacomien Prins Origin Myths, Genealogies, and Inventors: Defining the Nature of Musicin Early Modern England - Katherine Butler How to Sing like Angels: Isaiah, Ignatius of Antioch, and Protestant Worship in England - Jamie Apgar In Pursuit of Echo: Sound, Space, and the History of the Self - Ljubica Ilic Ophelia's Mad Songs and Performing Story in Early Modern England - Samantha Bassler Dangerous Beauty: Stories of Singing Women in Early Modern Italy - Sigrid Harris 'Fantastic Spirits': Myth and Satire in the Ayres of Thomas Weelkes - Katie Bank Feeling Fallen: A Re-telling of the Biblical Myth of the Fall in a Musical Adaptation of Marvell's 'A Dialogue between Thyrsis and Dorinda' - Aurora Faye Martinez 'Armida's Picture we from Tasso Drew'?: The Rinaldo and Armida Story in Late-Seventeenth- and Early-Eighteenth-Century English Operatic Entertainments - Amanda Eubanks Winkler Translating Myth Through Tunes: Ebenezer Forrest's Ballad Opera Adaptation of Louis Fuzelier's Momus Fabuliste (1719-29) - Erica Levenson Bibliography

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Book SynopsisAs a noted composer and critic, Paul Dukas was a major figure in fin-de-siècle and early twentieth-century French music. Best known for L'Apprenti sorcier, he was internationally recognised as an artist and intellectual ofdistinction who contributed significantly to Parisian musical cultures and critical debates. As a noted composer and critic, and later an editor and composition teacher, Paul Dukas (1865-1935) was a major figure in fin-de-siècle and early twentieth-century French music. Although his catalogue of published scores was relatively modest in quantity, he was internationally recognised as an artist and intellectual of distinction who contributed significantly to Parisian musical cultures and critical debates as they evolved from the 1890s until the 1930s Moving in the same circles as Debussy and Fauré, as well as networking with trailblazers such as the Ballets Russes director Sergei Diaghilev and the conductor Serge Koussevitzky, Dukas created works that reflect French sensibilities but also resonate with transnational audiences. L'Apprenti sorcier is still his best-known work, while the opera Ariane et Barbe-Bleue has been revived and remains relevant for the twenty-first century. Works such as the Piano Sonata and the ballet La Péri respectively exemplify the twin attractions of tradition and progress for the composer. Intensely self-critical, however, he ended up destroying many of his scores. This book is the first full-length Anglophone study of Dukas. It perceives his critical essays as a form of creative, philosophical thought that synthesised the riches of the Parisian music scene yet also represented the formationand development of his own artistic voice. Investigating Dukas's interrelated identities as composer and critic, it seeks to explain his broad aesthetic motivations and artistic agenda. LAURA WATSON is Lecturer in Musicat Maynooth University.Table of ContentsIntroduction An Intellectual and Aesthetic Formation: From Student Composer to Music Critic Symphony in C and Discourses of the French Symphony L'Apprenti sorcier and Theorising a Theatre of Programme Music Piano Works in Dialogue with Tradition Ariane et Barbe-Bleue and Conceptualising Opera after Wagner and Debussy Dance between the Symphonic Poem and Stage: Responding to Russian Influence After the First World War: Creative Renewal and Return to Music Criticism Afterword Bibliography

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Book SynopsisThis book reconsiders the significance of the salon as a social and cultural phenomenon and as a source of artistic innovation and exchange in the long nineteenth century. This collection explores the idea of music in the salon during the long nineteenth century, both as a socio-cultural phenomenon, and as a source of artistic innovation and exchange. Drawing on a wide range of scholarly approaches,this book uses the idea of the salon as a springboard to examine issues such as gender, religion, biography and performance; to explore the ways in which the salon was represented in different media; and to showcase the heterogeneity of the salon through a selection of case studies. It offers fresh considerations of familiar salons in large cultural centres, as well as insights into lesser-known salons in both Europe and the United States. Bringing together an international group of scholars, the collection underscores the enduring impact of the European musical salon. ANJA BUNZEL holds a research position at the Czech Academy of Sciences. She gained her PhD in Musicology from Maynooth University and has published on Johanna Kinkel and nineteenth-century salon culture in both English and German. NATASHA LOGES is Head of Postgraduate Programmes at the Royal College of Music, London. Her publications include Brahms in the Home and the Concert Hall (Cambridge, 2014) and Brahms and his Poets (Boydell Press, 2017). She is a pianist, broadcaster and critic. Contributors: Maren Bagge, PéterBozó, Anja Bunzel, Katie A. Callam, Beatrix Darmstädter, Mary Anne Garnett, Harald Krebs, Clemens Kreutzfeldt, Veronika Kusz, Natasha Loges, Jennifer Ronyak, Kirsten Santos Rutschman, R. Larry Todd, Katharina Uhde, Michael Uhde, Harry White, Petra Wilhelmy-Dollinger, Susan YouensTrade Review[The] chapter, by Maren Bagge and Clemens Kreutzfeldt, entitled 'Observing Musical Salon Culture in England c. 1800 through the Lens of the Caricature'... gives a brief glimpse into the largely amateur sphere of music-making in the late eighteenth and early nineteenth centuries, and raises many interesting points about what can be learnt from these engaging though mainly hostile caricatures. * THE CONSORT *This collection contains much enlightening material, and is a thought-provoking volume for anyone researching the music of the long nineteenth century in general. As we have come to expect from Boydell, the book is attractively produced and set, with plenty of well-produced illustrations and musical examples. I heartily recommend it to all those involved in this area of study and to serious music libraries. * FONTES ARTIS MUSICAE *Table of ContentsIntroduction - Anja Bunzel and Natasha Loges Johanna Kinkel's Social Life in Berlin (1836-39): Reflections on Historiographical Sources - Anja Bunzel Accidental Aesthetics in the Salon: Amateurism and the Romantic Fragment in the Lied Sketches of Bettina von Arnim - Jennifer Ronyak Salon Culture in the Circle of Joseph Joachim, or, Composing Inwardness: C. J. Arnold's Quartettabend bei Bettina von Arnim Reconsidered - Katharina Uhde Salon Culture in the Circle of Joseph Joachim, or, Composing Inwardness: C. J. Arnold's Quartettabend bei Bettina von Arnim Reconsidered - R. Larry Todd Reading, Singing, Becoming: The Mädchenlieder of Paul Heyse and Johannes Brahms - Natasha Loges Fridays with Malla: Musical Repertoire in the Swedish Salon of Malla Silfverstolpe - Kirsten Santos Rutschman Observing Musical Salon Culture in England c. 1800 through the Lens of the Caricature - Maren Bagge Observing Musical Salon Culture in England c. 1800 through the Lens of the Caricature - Clemens Kreutzfeldt The Salon Singer as Subject of Satire during the July Monarchy - Mary Anne Garnett The Instruments of the Vienna Biedermeier Salon: Diversity in Design, Sound, and Technology - Beatrix Darmstädter Offenbach and the Representation of the Salon - Péter Bozó Affordances of the Piano: A Cinematic Representation of the Victorian Salon - Harry White 'Der Mensch ist zur Geselligkeit geboren': Salon Culture, Night Thoughts, and a Schubert Song - Susan Youens Traditions, Preferences and Musical Taste in the Staegemann-Olfers Salon in Nineteenth-Century Berlin - Petra Wilhelmy-Dollinger Josephine Lang and the Salon in Southern Germany - Harald Krebs Jessie Hillebrand and Musical Life in 1870s Florence - Michael Uhde An Invitation to 309 Beacon Street: Clara Kathleen Rogers and her Boston Salon - Katie A. Callam 'Too Much Playing Four Hands!': Ernst von Dohnányi's European Salon in the United States of the 1950s - Veronika Kusz Select Bibliography Index

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Book SynopsisMusic and musical entertainments are here shown to be used for different ends, by both monarch and courtiers. Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song? This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility. KATHERINE BUTLER is a Senior Lecturer at Northumbria University, Newcastle.Trade ReviewA fascinating book. * THE CONSORT *No one who reads this fine study will again treat music as a background to the Elizabethan court. * AMERICAN HISTORICAL REVIEW *[A] major undertaking of importance, a careful and thorough study of numerous examples of secular music that is undergirded by a keen understanding of music's role in the political life of a fascinating era. * EARLY MUSIC *A deeply serious and scholarly piece of work, but the approachable style and well-organised chapters would engage anyone with an interest in the artistic life of England in the second half of the sixteenth century. * SPIRITED *Tightly organized and impeccably researched, this engaging study triangulates the disciplines of musicology, literary history, and iconography to present the political roles music could play within Elizabeth's court, and adds welcome nuance to the preexisting scholarly narratives of monarchial control over the arts. * RENAISSANCE QUARTERLY *[O]ffers a ... detailed and focused look at the application of music to the specific context of the world of the Elizabethan court. * NORTHERN RENAISSANCE *Table of ContentsIntroduction Music, Authority, and the Royal Image The Politics of Intimacy The Royal Household and its Revels Noble Masculinity at the Tournaments Politics, Petition, and Complaint on the Royal Progresses Conclusion Appendices Bibliography

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Book SynopsisAn intimate and readable account, filled with interesting and amusing anecdotes, of a highly creative period in English musical history Hubert J. Foss (1899-1953) is best known for his work as founder and first music editor for Oxford University Press. Foss promoted composers in England between the World Wars, most notably Ralph Vaughan Williams, William Walton, Constant Lambert, and Peter Warlock. The first part of this book is based on the memoirs of his wife Dora, who was herself a professional singer. The book - through the presentation of memoirs and letters - recreates a vivid picture of the musical world during the inter-war period when there was a renaissance of English music. Foss's work for OUP saw the music department expand from publishing a limited number of sheet music items to a comprehensive inventory of operas, orchestral compositions, chamber and vocal works, and piano pieces. Foss also greatly expanded the press's publication of books on music, music analysis, and music appreciation. Leaving OUP's music department in1941, Foss pursued a number of freelance musical occupations, serving as critic, reviewer, journalist, author and frequent broadcaster. The book includes letters sent to and received from such luminaries as Hamilton Harty,Constant Lambert, Edith Sitwell, Donald Tovey, Ralph Vaughan Williams, William Walton, Henry J. Wood, Arthur Bliss, Benjamin Britten, Roger Quilter, Percy Scholes, Leopold Stokowski, Michael Tippett, Thomas Hardy, James Joyce andWalter de la Mare. Many of the letters presented here have never been published before. An authoritative introduction by Simon Wright (Head of Rights & Contracts, Music, OUP) provides a detailed overview of Hubert Foss and his place in music publishing. STEPHEN LLOYD is the author of William Walton: Muse of Fire and Constant Lambert: Beyond the Rio Grande (both published by Boydell). DIANA SPARKES is the daughter of Hubert and Dora Foss. BRIAN SPARKES is her husband and an Emeritus Professor of Classical Archaeology.Trade ReviewThis very welcome book shows [that Hubert J. Foss] was for a period of 20 years or so a major driving force for contemporary music...An engrossing and heart-warming read and a must for anyone interested in British musical life of the inter-war years. * BRITISH MUSIC SOCIETY *This book offers a remarkably wide-ranging and entertaining insight into the landscape of British music.[the Fosses] changed lives, launched careers and unharnessed nascent creativity in the most generous of spirits; these pages bring their magic to life once more. * SPIRITED *Table of ContentsIntroduction by Simon Wright Dora Foss's Memoirs The Wider Circle Tributes to Hubert Foss Selected Poetry of Hubert Foss Discography Select Bibliography Correspondents

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Book SynopsisThe first guide to research on Telemann in any language. This book is the first guide to research on the composer Georg Philipp Telemann (1681-1767) in any language. Although the scholarly 'Telemann Renaissance' is now a half-century old, there has never been a book intended to serve asa gateway for further study. Apart from a handful of biographies, dictionary entries, and annotated bibliographies (many of which are now severely out of date), students of Telemann's life and music have been left to dive into the secondary literature in order to get their bearings. Considering that this now burgeoning literature has mainly taken the form of German dissertations and conference proceedings, it is small wonder that the field of Telemann studies has been relatively slow to develop in the English-speaking world. And yet the veritable explosion of performances, both live and recorded, of the composer's music in recent decades has won him an ever-increasing following among musicians and concert-goers worldwide. As with other books in the Composer Compendia series, the book includes a brief biography, dictionary, works-list, and selective bibliography.Trade ReviewToday [. . .] Zohn can rightly claim that 'as the composer's music has steadily become better known, opinions of him have risen in equal measure' (p.117). And this is thanks in no small part to Zohn himself, who has almost singlehandedly set the tone for English-language Telemann research in the twenty-first century. Building on the efforts of recent generations of early music practitioners and scholars, The Telemann Compendium makes it clear that this extraordinary composer's fame and success will have been anything but vain and fleeting. -- Paul Newton-Jackson * Music & Letters *An American music professor, Steven Zohn, has created a Telemann book which will probably surpass the wildest dreams of lovers of his music. . . . The work is a practical handbook for people who, without great difficulty, would like to gain a better understanding of the extremely productive and in his time, popular composer, Georg Philipp Telemann, who in his 86-year life created thousands of works, of which 3600 are preserved today. -- Henrik Døcker * CUSTOS *The author and the publishers have succeeded triumphantly in providing a volume well-written, edited and presented, with clear and invaluable cross-references between items in the Dictionary - which provides both ordinary music lovers and specialists with ready access in English to the latest scholarly information and insights about Telemann. It can be highly recommended. -- Robert Manning * The Consort *Table of ContentsIntroduction Biography Dictionary Works Bibliography

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Book SynopsisThe first book in the English language to engage with Prokofiev's operatic output in its entirety. The operas of Sergei Prokofiev (1891-1953) mark a significant contribution to twentieth-century music and theatre. Opera was Prokofiev's preferred genre; not counting juvenile and unfinished works, he wrote a total of eight. Yet,to date, little has been published about the context, rationale or musical and compositional processes behind this output. While systematic studies of Prokofiev's symphonies and his ballets exist, the operas have come under no such scrutiny. This book is the first in the English language to engage with the composer's operatic output in its entirety and provides a contextual, critical and musico-analytical account of all of Prokofiev's operas, including those juvenile works that are unpublished as well as the incomplete works composed towards the end of his life. It also includes synopses of the operas. Drawing on a wealth of archival material and other sources, the book provides the compelling untold story of Prokofiev the opera composer.Trade ReviewChristina Guillaumier has made the first comprehensive and critical evaluation of [Prokofiev's operatic] works. The result forms a most persuasive and thoroughly researched case for this least known area of his oeuvre to which he nonetheless had brought his highest powers of thought and imagination to bear. . . . [H]ighly detailed and at the same time lucid and readable, a feat that should satisfy both the scholarly mind and arouse the interest of the non-specialist reader. . . . The Operas of Sergei Prokofiev is to be warmly welcomed for opening a valuable new perspective on this major composer's life and works. -- Andrew Thomson * The Musical Times *[G]ives an in-depth analysis and vivid narrative of the music and would be of particular interest to musicologists and operatic producers, but also to the non-specialist reader. . . . [T]his well considered and compelling monograph does indeed provide 'a coherent and illuminating narrative of Prokofiev's operatic career' (p. 2) and Guillaumier's scholarly work certainly contributes significantly to the existing Prokof´ev scholarship. -- Viktoria Zora * Slavonic and East European Review *Table of ContentsIntroduction: Prokofiev and Opera Early Operatic Experiments and Maddalena Between Opera and Theatre: Radicalisation of Style in The Gambler A Successful Enterprise: Love for Three Oranges The Devil Within: Theatre and Spectacle in The Fiery Angel Towards a Soviet Operatic Style: Semyon Kotko Betrothal in a Monastery and the Retreat from Ideology War and Peace: The Prokofievan Operatic Ideal? Dramaturgical Re-evaluation in The Story of a Real Man Epilogue Synopses Bibliography

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Book SynopsisHow was large-scale music directed or conducted in Britain before baton conducting took hold in the 1830s? This book investigates the ways large-scale music was directed or conducted in Britain before baton conducting took hold in the 1830s. After surveying practice in Italy, Germany and France from Antiquity to the eighteenth century,the focus is on direction in two strands of music making in Stuart and Georgian Britain: choral music from Restoration cathedrals to the oratorio tradition deriving from Handel, and music in the theatre from the Jacobean masque to nineteenth-century opera, ending with an account of how modern baton conducting spread in the 1830s from the pit of the Haymarket Theatre to the Philharmonic Society and to large-scale choral music. Part social and musical history based on new research into surviving performing material, documentary sources and visual evidence, and part polemic intended to question the use of modern baton conducting in pre-nineteenth-century music, Before the Baton throws new light on many hitherto dark areas, though the heart of the book is an extended discussion of the evidence relating to Handel's operas, oratorios and choral music. Contrary to near-universal modern practice, he mostly preferred to play rather than beat time.Trade ReviewThis beautifully produced volume is a remarkable achievement - clearly the outcome of exhaustive, wide-ranging research. a stimulating and thought provoking read. * BRITISH MUSIC SOCIETY *[A] fascinating and carefully argued book. Peter Holman distils a great breadth of reading, reflection and practical experience into a convincing description of how large-scale musical performances were directed before baton conducting took hold in the 1830s. This book has a great deal of interest to organists -- and for organists who also enjoy opera. -- David Knight * BIOS Journal *Table of ContentsTo Beat or Not to Beat: The Continental Context 1. 'Heard but not Seen': Leading Anglican Cathedral Music from the Organ 2. 'With a Scroll of Parchment or Paper, in Hand': Large-Scale Choral Music 3. 'Accompanied all along on the Organ by his Own Inimitable Hand': Handel and the Direction of his Oratorios 4. 'The Conductor at the Organ': The Oratorio Tradition after Handel 5. 'That Ridiculous Custom': From Devolved Direction to CentralizedTime-Beating in Seventeenth-Century Theatre Music 6. 'Il maestro al cembalo': Directing Opera and Theatre Music from the Harpsichord 7. 'A New Discipline and a New Style of Playing': Directing Opera and Theatre Music from the Violin 8. 'That Powerful Sovereign, the Conductor': From the Piano to the Rostrum Superconductors or Semiconductors? Lessons for Today

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Book SynopsisThe displacement of European musics and musicians is a defining feature of twentieth-century music history. The displacement of European musics and musicians is a defining feature of twentieth-century music history. Musical Journeys uses vignettes of migratory moments in the works of Hanns Eisler in Paris, Mátyás Seiber in London, and István Anhalt in Montreal to investigate concepts of identity construction and musical aesthetics in the light of migratory experiences. Moving between the Austro-Hungarian Empire, proto-fascist Hungary, fascist Germany, war-time Britain, post-war Canada, and socialist East Germany, the book explores aspects of musical migrant culture including creative responses to nationalist ideas and politics, the role of cultural institutions in promoting (or censoring) the works of immigrant composers, and the complex interaction between Jewish identity and memory. It contends that an approach to music through the lens of migration can challenge and enrich socio-cultural understandings of music as well as conceptions of music historiography. Drawing on exile, diaspora, migration and mobilities studies, critical theory, and post-colonial and cultural studies, Musical Journeys weaves detailed biographical and contextual historical knowledge and analytical insights into music into an intricate fabric that does justice to the complexity of the musical migratory experience. FLORIAN SCHEDING is Senior Lecturer in Music at the University of Bristol.Trade ReviewMarrying theoretical insight with thick description, Scheding's work moves the study of World War II-era, European-Jewish composers in exile into a maturer set of relations with migration and diaspora studies more generally-without ever losing sight of the human stakes. * REVUE DE MUSICOLOGIE *Table of ContentsIntroduction: Mobility between Margin and Centre Angels in Paris Facing the Nation Airwaves in London Singing Exile of Progress and Nostalgia Jewish Memories

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Book SynopsisEssays illuminating a complex and sophisticated musical manuscript. The Segovia Manuscript (Cathedral of Segovia, Archivo Capitular) has puzzled musicologists ever since its rediscovery at the beginning of the twentieth century. It is unique: no other manuscript of the period transmits a comparable blend of late fifteenth-century music, consisting of 204 sacred works and vernacular pieces in Flemish, French, Italian, and Spanish. An important group of pedagogical pieces by French and Flemish composers may preserve transcriptions of instrumental improvisation. This summary might suggest a messy collection, but on the contrary the manuscript is arranged with care, copied by one proficient scribe (except perhaps for the Spanish texts), who obviously followed a predetermined master plan. But which plan, who designed it, and why was the person responsible so interested in this combination? The essays here aim to treat every dimension of this fascinating source. New discoveries help date the manuscript and explain how it came to Segovia; particular attention is paid to the main scribe, now determined to be Flemish, and his relation with northern composers and repertory, above all that of Jacob Obrecht, Alexander Agricola, and Henricus Isaac; and the vexed question of the conflicting attributions is considered afresh and found to affect only a few of the fascicles. The contributors also look at questions of ownership and function. . WOLFGANG FUHRMANN is Professor of Musicology at Leipzig University; CRISTINA URCHUEGUÍA is Professor of Musicology at the University of Bern. Contributors: Bonnie J. Blackburn, Wolfgang Fuhrmann, Leofranc Holford-Strevens, Tess Knighton, Kenneth Kreitner, Honey Meconi, Emilio Ros-Fábregas, Cristina Urchueguía, Rob C. WegmanTable of ContentsPreambulum: A Source in Segovia In Search of Origins: The Afterlife of a Renaissance Manuscript New Light on the Segovia Manuscript: Watermarks, Foliation, and Ownership Segovia's Repertoire: Attributions and Datings (with special reference to Jacob Obrecht) What Was Segovia for? The Latin Texts of the Segovia Manuscript The Segovia Manuscript as Chansonnier The Segovia Manuscript: Another Look at the 'Flemish Hypothesis' The Segovia Manuscript: Speculative Notes on the Flemish Connection The Written Transmission of Polyphonic Song in Spain c. 1500: The Case of the Segovia Inventory of Segovia, Archivo Capitular de la Catedral, MS S.S.

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Book SynopsisPeter Maxwell Davies (1934-2016) was one of the leading international composers of the post-war period as well as one of the most productive. Peter Maxwell Davies (1934-2016) was one of the leading international composers of the post-war period as well as one of the most productive. This book provides a global view of his music, integrating a number of resonant themes in the composer's work while covering a representative cross-section of his vast output - his work list encompasses nearly 550 compositions in every established genre. Each chapter focuses on specific major works and offers generaldiscussion of other selected works connected to the main themes. These themes include compositional technique and process; genre; form and architecture; tonality and texture; allusion, quotation and musical critique; and place and landscape. Throughout, the book contends that Davies's works are not created in a vacuum but are intimately connected to, and are a reflection of, 'the past'. This deep engagement occurs on a number of levels, fluctuating and interacting with the composer's own predominantly modernist idiom and evoking a chain of historical resonances. Making sustained reference to Davies's own words, articles and programme notes as well as privileged access to primary source material from his estate, the book illuminates the composer's practices and approaches while shaping a discourse around his music.Trade ReviewThis masterful volume conjures up a very satisfying insight both in technical music terms but also the anecdotal memories of a man who contributed so much to British musical art...Highly recommended for all serious classical music lovers. * BRITISH MUSIC SOCIETY *Insights aplenty.Delving into his inspirations is rewarding for all opera lovers. * OPERA NOW *Table of ContentsPrelude Biography, Stylistic Development, Autobiography Compositional Technique and Process Genre Form and Architecture Tonality and Texture Allusion, Quotation, Musical Critique Landscape and Place Postlude Catalogue of works Select bibliography Index of Works by Peter Maxwell Davies

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Book SynopsisThe Miserere by Italian composer Gregorio Allegri (1582-1652) is one of the most popular, oft performed and recorded choral pieces of late Renaissance/early Baroque music. Yet the piece known today bears little resemblanceto Allegri's original or to the piece as it was performed before 1870. The Miserere attributed to the Italian composer Gregorio Allegri (1582-1652) is one of the most popular, often performed and recorded choral pieces of late Renaissance/early Baroque music. It was composed during the reign of Pope Urban VIII in the 1630s, for the exclusive use of the Papal Choir in the Sistine Chapel during Holy Week, the last of thirteen surviving Misereres sung at the services of Tenebræ since 1514. When the young Mozart visited Rome, so the story goes, he transcribed it from memory, risking excommunication but helping posterity to reclaim the piece. Yet the Miserere known today bears little resemblance to Allegri's original or to its method of performance before 1900. This book is the first detailed account of this iconic work's performance history in the Sistine Chapel, in particular focussing on its heyday in the eighteenth and nineteenth centuries. Rather than looking at the Miserere as a work on paper, the key to its genesis - as this book reveals - can only be found in a performance context. The book includes consideration both of the implications of that context in recreating it for performance, and of the history and practice of the "English Miserere" - the version commonly heard today. Appendices present key source transcriptions and two performance editions.Trade ReviewThis is an essential read for amateur and professional choral singers and directors, but [also] for music lovers, giving an inspiring insight into the complexities of musical transmission and the development of musical interpretation through the ages. * Andrew Benson-Wilson: Early Music Reviews *[An] absorbing volume. . . . [T]his book is a fascinating account of an institution as well as of the multiple transformations of a piece of music that in consequence of its textural uncertainties, as O'Reilly comments, has "only really existed within a performance context." -- Thomas Cooper * The Consort *It is the open and yet historically anchored attitude of the author that makes his approach so valuable and his book so worth reading. * JOURNAL FOR SEVENTEENTH-CENTURY MUSIC *Graham O'Reilly opens the door to amazing, and perhaps unexpected, ways of interpreting this iconic work. Whether you are a performer of this work or merely an appreciative listener, O'Reilly's text should be an important and illuminating part of your own journey. * THE JOURNAL OF THE ASSOCIATION OF ANGLICAN MUSCIANS *O'Reilly has produced a comprehensive and definitive account that asks and answers all the relevant questions about this extraordinary work. Most importantly, there is, for the first time, a convincing account of the Papal Choir's performance practice. The book should be compulsory reading for anyone intending to programme, direct, or perform this remarkable piece. * JOURNAL OF THE NATIONAL EARLY MUSIC ASSOCIATION *O'Reilly writes in an engaging manner and tells the story particularly from the perspective of a performer and conductor. -- Noel O'Regan * MUSIC & LETTERS *Author and conductor Graham O'Reilly unravels the historical and musical threads in a meticulous and entertaining narrative. * Opera News *The entire story has now been told by Graham O'Reilly in an academically rigorous yet thrilling narrated and beautifully written book. There are parts of the story that might do service as the basis for a Netflix blockbuster. -- Richard Osborne * THE OLDIE *Table of ContentsIntroduction - Myth and reality Part One: The 16th and 17th centuries 1. Context 2. Creation 3. Transformation Part Two: The 18th century 4. Show business 5. 18th century sources 1 - Blainville and Mozart 6. 18th century sources 2 - The Paris and Manchester manuscripts 7. 'Con suoi rifiorimente, come si deve eseguire' - What the earliest ornamented manuscripts show Part Three: The 19th century 8. The Papal Choir in the 19th century 1 - Giuseppe Baini 9. 19th century sources 1 - British Library Add. MS 31525 and related manuscripts 10. 19th century sources 2 - Alfieri's Il Salmo Miserere of 1840 11. The Papal Choir in the 19th century 2 - Domenico Mustafà 12. 19th century sources 3 - The Vatican manuscript of Domenico Mustafà Part Four: Performing the Miserere in the 20th century 13. The current 'popular' version of the Allegri Miserere: the 'English Miserere' 14. Introduction to the editions 15. Aspects of performance practice 1 - Performing pitch 16. Aspects of performance practice 2 - Expression 17. Aspects of performance practice 3 - Performing forces 18. Conclusion Part Five: Appendices, editions and notes Bibliography

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Book SynopsisThis book explores the exchange of music, musicians and musical practice between Britain and the Continent in the period c.1500-1800. This book explores the exchange of music, musicians and musical practice between Britain and the Continent in the period c.1500-1800. Inspired by Peter Holman's research and performing activities, the essays in the volume developthe theme of exchange and dialogue through the lenses of people, practices and repertory and consider the myriad ways in which musical culture participated in the dynamic relationship between Europe and Britain. Key areas addressed are music and travel; music publishing; émigré musicians; performing practice; dissemination of music and musical practice; and instruments. Holman's work has revealed the mechanisms by which continental practices were adapted to local circumstances and has helped to show that Britain enjoyed a vigorous musical culture in the long eighteenth century, in which native proponents produced original works of quality and interest and did not simply copy continental models. Following avenues opened up by Holman' scholarship, contributors to this volume explore a variety of ways in which the cross-fertilization of music and musicians has enriched European, and especially British, cultureof the early modern period.Trade Review[A] wide ranging set of first-rate, tightly-focussed essays by leading scholars in their respective fields that makes a significant contribution to the on-going study of music in Britain. -- BRIOTable of ContentsIntroduction - John Cunningham and Bryan White 'Qui en ont porté la connoissance dans les autres Royaumes': The Transmission of Music for Viols by Emigrant Composers in Seventeenth-Century England - Patxi del Amo 'The Tunes of the usual French Dances at COURT and DANCING SCHOOLS': The Repertoire and Musical Practice of Dancing Masters in Restoration England - Andrew Woolley 'An Inexhaustible Treasure of Harmony'? Composition and Variation in William Babell's Twenty-four Solos - Alan Howard The Fashion for Corelli in Eighteenth-Century England - Min-Jung Kang 'After the Italian manner': Finger, Pepusch and the First Concertos in England - Robert G Rawson Geminiani's Minuets in Britain and on the Continent - Rudolf Rasch Battles and Bransles: The Role of the Swiss Pair in Early Modern Courtly Society - Nancy Hadden Lost in Translation?: Louis Grabu and John Dryden's Albion and Albanius - Bryan White The Figuring of Bass Parts in German Dance Music from the Second Half of the Seventeenth Century; What it Tells us About their Performance - Michael Robertson Harmonic Language and Playing Style of English 'Continued Bass' in the Seventeenth Century - Thérèse de Goede Melodic Aspects of the Cadential Six-Four in Eighteenth-Century Music - Michael Talbot 'Before him stood sundry sweet Singers of this our Israel': The Chorus Singers for Handel's London Oratorio Performances - Donald Burrows 'Seven Young Hautboys': The Impact of German Hautboisten on English Musical Life, 1680-1800 - Samantha Owens British Concert Repertoire and its Dispersal in Europe: Sets of Parts in the Utile Dulci Library, Stockholm - Fiona Smith Angelo Notari and the English Court - Johnathan Wainwright The Elusive Identity of John Playford - Robert Thompson James Sherard as Music Collector - Stephen Rose New Light on William Corbett's Gresham College Bequest - John Cunningham Philip Hayes and the Preservation and Dissemination of Purcell's Music in Eighteenth-Century England - Rebecca Herissone Rameau and the English - Graham Sadler Stephen Storace as a Disciple of Mozart - Julian Rushton Working with Peter Holman: From a Seat in The Parley of Instruments - Judy Tarling Peter Holman: A Family Memoir - Tricia Holman The Works of Peter Holman Index

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Book SynopsisBy common consent the leading British composer of the twentieth-century's middle decades, Britten continues to create significant contexts for the work of those who survived and succeeded him. This collection of revised reprints of essays, reviews and analyses first published between 1995 and 2018 surveys a cross-section of contemporary classical composition in the UK. The governing perspective is the impact of the life and work of Benjamin Britten (1913-1976) on British composers who, with the exception of Michael Tippett and Robert Simpson, were born between the 1930s and the 1980s. Despite obvious and considerable differences in character and style, British composers like Harrison Birtwistle and Thomas Adès, Robin Holloway and James Dillon, have continued, like Britten himself, to seek personal perspectives on the still prominent procedures and personalities of more distant baroque, classical and romantic eras. Most if not all of these composers would deny being influenced by Britten, and many have reservations about his music. Yet, in light of the fact that British musical life and the institutions that support it have not changed radically since Britten's own time - the pace of technological change notwithstanding - to speak of 'British music after Britten' inevitably involves something more than mere chronology. As by common consent the leading British composer of the twentieth-century's middle decades, Britten continues to create significant contexts for the work of those who survived and succeeded him.Trade Review[This] book contains a wealth of fascinating reading and does what the best books on music do: it makes the reader want to listen to the music under discussion, and that is how music continues to live and have its place in the world. -- BRIO

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Book SynopsisRevealing much about the workings of the musical world, these conversations will not only be essential reading for composers and composition students, but also contemporary music lovers more generally Julian Anderson is renowned internationally as one of the leading composers of his generation. This substantial book of conversations with the scholar and critic Christopher Dingle captures Anderson's thoughts and memories in-depth for the first time, not only providing biographical information and background material, but also capturing the workings of a remarkable mind. It is rare to find a composer prepared to speak extensively and honestly on as broada range of topics as Anderson. These extraordinarily diverse conversations range far beyond his own compositions and even beyond the sphere of music, exploring issues of broad cultural interest. Of particular value, providing insights into the practicalities and psychology of composing, are the glimpses of Anderson's thoughts on works in progress during the conversations, including the period from composing the score for his ENO opera Thebans to its first production, as well as his violin concerto, his 3rd String Quartet and his Berlin Philharmonic commission Incantesimi. Anderson's work with dance, his love of the voice and his varied collaborations with orchestras, soloists and conductors are also explored. With their wide range of musical and artistic topics, these conversations will be essential reading not only for composers and composition students, but for those interested inculture more generally.Trade ReviewErudite yet informal and wholly engaging, every page yields fascinating insights on a wide range of interrelated topics. From dance to opera; Messiaen to Croatian folk; spectralism to sampling; musical memory to perception, sound and resonance; music is never seen in isolation from society but as a vibrant, constantly evolving communicative force. The glossary alone is a treasure-trove, written by Anderson and reflecting his quietly brilliant unorthodoxy. FIVE STARS. -- Steph Power * BBC Music Magazine *Here we have another beautifully produced and thought-provoking text from the Boydell Press. . . . It is abundantly clear that Anderson's sympathies and ideas range widely beyond music to embrace issues of broad cultural interest. The value of the book is greatly enhanced by glimpses of the motivation behind some of his most recent work - the scope of the book takes us to the immediate present. . . . [P]rovides a stimulating insight into one of today's most interesting musical figures. -- Alistair MacDonald * British Music Society *The contextual knowledge, analytical abilities, realism, personal insight and honesty of emotional response to music of all forms are dazzling, from both the composer Anderson and his friend the musicologist Christopher Dingle. -- Andrew Mellor * Gramophone *The ground covered [in the book] is both wide-ranging and often abundantly engaging. The shop talk will be of particular interest to composers. . . . Students will learn a great deal about banishing the blank page from Anderson's imaginative approach to creativity. . . . [A] fine resource for scholars and performers as well as composers. -- Christian Carey * TEMPO *Table of ContentsForeword by Gillian Moore Prelude: Jeux Origins Enthusiasms Training Dance Folk Composing (or not) Understandings Beginnings (and endings) Puzzles Singing Olly Memory Opera Practices Outsiders Quartets Advocacy Partnerships Coda: Multiple Choices Catalogue of Words by Julian Anderson List of Recordings of Julian Anderson's Music

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Book SynopsisWhat are the key topics that define Romantic violin playing? This book discusses key issues (and barriers) of putting into practice nineteenth-century violin performing practices. It deals with a number of well-known problems concerning romantic performance including the widely perceived 'gap' between scholarship and the act of performance. Taking account of a modernist revolution in performing practices and aesthetic thought in the twentieth century, the book focuses on key topics to define romantic violin playing. Practically-focused chapters discuss key aspects of performing practice evidence. The book then moves into a case-study phase to discuss examples from the author's long experience. It concludes with practical advice and exercises to enable students to begin experimenting with the assimilation of such practices into their own performance. In this way, the proposed structure aims to be a 'handbook' proper. The handbook ends by looking to the future and suggesting practical ways for violinists to adopt what has been discussed in the text. The continued centrality of nineteenth-century music in contemporary concert life makes the importance of the topic self-evident.Trade ReviewFrom the first pages, Milsom's authoritativeness as a performer and scholar of romantic performance practices comes to the fore immediately. Any library that collects works of violin pedagogy to any reasonable depth of coverage will benefit from adding this and Milsom's other writings to their collection. * MUSIC REFERENCE SERVICES QUARTERLY *Table of ContentsIntroduction Mind the Gap: Of Chasms, Historical Research, and 'Romantic' Performance A Modernist Revolution? A Violinistic 'Bel Canto'? A Violinistic 'Declamatory' Ideal? Organology and its Implications Teaching Perspectives: Treatises Editions as Evidence Recordings as a Window upon 'Romantic' Performing Practice The 'Leeds School': Autoethnographic Reflections on Historical Emulations Joseph Joachim: A Case Study Technical Exercises Stylistic Exercises Conclusion Book Website Information Bibliography Discography Other References (Conference Talks & Lectures)

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Book SynopsisThe Symphonic Poem in Britain 1850-1950aims to raise the status of the genre generally, and in Britain specifically, by reaffirming British composers' confidence in dealing with literary texts. The Symphonic Poem in Britain 1850-1950 aims to raise the status of the genre generally and in Britain specifically. The volume reaffirms British composers' confidence in dealing with literary texts and takes advantage of the contributors' interdisciplinary expertise by situating discussions of the tone poem in Britain in a variety of historical, analytical and cultural contexts. This book highlights some of the continental models that influenced British composers, and identifies a range of issues related to perceptions of the genre. Richard Strauss became an important figure in Britain during this time, not only in terms of the clear impact of his tone poems, but the debates over their value and even their ethics. A focus on French orchestral music in Britain represents a welcome addition to scholarly debate, and links to issues in several other chapters. The historical development of the genre, the impact of compositional models, issues highlighted in critical reception as well as programming strategies all contribute to a richer understanding of the symphonic poem in Britain. Works by British composers discussed in more detail include William Wallace's Villon (1909), Gustav Holst's Beni Mora(1909-10), Hubert Parry's From Death to Life (1914), John Ireland's Mai-Dun (1921), and Frank Bridge's orchestral 'poems' (1903-15).Trade Review[A] landmark contribution to both symphonic poem and broader British music areas of study. Every single chapter within presents important research and offers keen insights into its corresponding topic. This is all the work of skilled and experienced scholars, and it shows. . . . In the likely event that any other scholarship relating to the symphonic poem in Britain is to be published, it will almost certainly owe something to this fantastic collection. -- Ryan Ross * NABMSA Reviews *Table of ContentsIntroduction - Michael Allis and Paul Watt Narrative and Formal Plasticity in the British Symphonic Poem, 1850-1950 - Jeremy Dibble The Symphonic Poem and British Music Criticism - Paul Watt Richard Strauss's Tone Poems in Britain, 1890-1950 - David Larkin French Connections: Debussy and Ravel's Orchestral Music in Britain from Prélude à l'après-midi d'un faune to Boléro - Barbara L. Kelly The Rise of the Symphonic Poem in Glasgow, 1879-1916: A Documentary History - Anne-Marie Forbes and Heather Monkhouse 'A curious intricate work of the modern, but not theultra-modern, school': William Wallace's Villon - Michael Allis Gustav Holst's Beni Mora and the Orientalist Imagination - Christopher Scheer Symphonic Poetry, 1914: Parry's From Death To Life - Benedict Taylor John Ireland's Mai-Dun: Composite Influences - Fiona Richards Frank Bridge: Poems of Re-enchantment - Jonathan Clinch

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Book SynopsisEssays on important topics in early music. Christopher Page is one of the most influential and distinguished scholars and performers of medieval music. His first book, Voices and Instruments of the Middle Ages (1987), marked the beginning of what might be called the"Page turn" in the study and performance of medieval music. His many subsequent publications, radio broadcasting (notably the series Spirit of the Age) and performances and recordings with his ensemble Gothic Voices changed the perception of and thinking about music from before about 1400 and forged new ways of communicating its essence to scholars as well as its subtle beauty to wider audiences. The essays presented here in his honour reflectthe broad range of subject-matter, from the earliest polyphony to the conductus and motet of the thirteenth and fourteenth centuries, the troubadour and trouvère repertories, song and dance, church music, medieval music theory, improvisation techniques, historiography of medieval music, musical iconography, instrumental music, performance practice and performing, that has characterised Page's major contribution to our knowledge of music of the Middle Ages.Table of ContentsIntroduction - Tess Knighton and David Skinner The Progeny of Bernart de Ventadorn's Can vei la lauzeta mover - Elizabeth Aubrey Medieval Iberian Song in its Mediterranean Context: From Andalusian muwashshahat to the Cantigas de Santa Maria - Manuel Pedro Ferreira The estampies of Douce 308 - Elizabeth Eva Leach Anonymous IV and the Antiqui - Rob C. Wegman The Development of the Latin Liturgical Psalter in England - John Caldwell Forgotten Levers of Harmony: Where Are the Grammarians' Claviculi? - Crawford Young The Variable-Voice Conductus - Mark Everist Making Sense of Omnis / Habenti: An Ars Nova Motet in England - Lisa Colton Super omnes speciosa: Machaut Reading Vitry - Alice V. Clark 'The spirit moves me to speak of forms changed into new bodies': Anton Webern, Philippe de Vitry, and the Reception of the Ars Nova Motet - Lawrence Earp La belle se siet: Where Dufay and Josquin Meet - David Fallows In Search of Medieval Music in Non-Western Countries - Anna Maria Busse Berger Where Did Our Musical Instruments Come From? - Jeremy Montagu Instrumentalists and Changing Performance Contexts, c. 1500 - Keith Polk Non-mensural Polyphony: Performing Plainsong - Reinhard Strohm 'Übersingen' and 'Quintieren': Non-Mensural Polyphony in Secular Repertories: Oswald von Wolkenstein and the Monk of Salzburg - Marc Lewon From Page to Sound: Performing the Masses of Walter Frye - Andrew Kirkman

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Book SynopsisHow did composers and performers use the lost art of pantomime to explore and promote the Enlightenment ideals of free expression? This book explains the relationships between music, pantomime and freedom in pre-Revolutionary France. It argues that composers and performers recognized their agency when they attempted, from the 1730s through the end of the Old Regime, to revive a lost art called 'pantomime' for their compositions. In musical settings of pantomimes in French operas and instrumental works, leading composers of the time - Rameau, Rousseau, Gluck, and Salieri - used pantomime as a type of expressive dance and acting style that marked an aesthetic rupture between Louis XIV's absolutist governance and the Enlightenment ideals of free expression. In musical settings of pantomime, these composers cultivated various forms of freedom theorized in Enlightenment writings: artistic freedom for the composer; freedom as self-governance; interpretive freedom for spectators; freedom of action for performers; and freedom from dance convention. Thus, pantomime was not only a dance genre; it also functioned as an expressive medium for top performers and invited spectators to draw their own interpretative conclusions. Placing the cultural phenomenon of pantomime in the intellectual context of the Enlightenment, the book explains how composers helped develop thinking and feeling subjects in pre-Revolutionary France.Trade Review[Hedy Law] analyses a broad range of concepts in detail through her well-chosen lens, presenting us with a bounty of discoveries. * THE MUSICOLOGY REVIEW *[A] necessary and detailed chronicle of how the moral, intellectual and cultural meanings invested in this art form set the stage for revolution. -- EIGHTEENTH-CENTURY MUSICThe book provides a thought-provoking approach to eighteenth-century pantomime and music that will enrich future studies of ballet, mime, theater, and opera. * H-France Review *Table of ContentsIntroduction Bacchic Freedom Freedom from an Evil Spell Things that Move Things that Walk When Humans Dance like Atoms Epilogue Select Bibliography Index

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Book SynopsisA timely attempt to re-map a critical appreciation of early twentieth-century modernism through a Nordic lens. Following the end of the Cold War, a former East-West binary model of European identity has been replaced with a series of more complex and variegated patterns. Northern Europe is one such territory, and the idea of the 'North' more generally has come in for increased critical scrutiny. This volume reappraises the work of Sibelius, Nielsen and their contemporaries, but it also reassesses the wider implications of the 'Nordic Breakthrough' for fields such as the visual arts, theatre, literature and architecture. Music's Nordic Breakthrough adopts an interdisciplinary methodology and expands the geographical reach of the 'Nordic zone' to include interactions with Russia, the Baltic states and Great Britain; a new understanding of the region emerges as an arena of artistic affinity, cutural exchange and shared preoccupations. At the same time, the book constitutes an attempt to re-map and recentre early twentieth-century European modernism through a distinctively Nordic lens. The thematic approach on display reveals the complex interaction of networks, individuals, ideologies and the transfer of ideas. The book will beof interest to musicologists working in late nineteenth- and early twentieth-century repertoires, as well as those more broadly interested in modernism in music and its neighbouring arts. The book also offers important reading forart historians, theatre scholars and literary critics. CONTRIBUTORS: Charlotte Ashby, Leah Broad, Daniel M. Grimley, Louise Hardiman, Kevin Karnes, Pirjo Lyytikäinen, Tomi Mäkelä, Julia Mannherz, Arnulf Christian Mattes, Philip Ross Bullock, Kirsten Rutschmann, and Mikkel Zangenberg.Table of ContentsIntroduction: Nordic Edge - Encountering Modernity at the Breakthrough PART I: TRANSNATIONAL SPACE AND LOCAL COMMUNITIES National - Nordic - Universal: Gustav Vigeland and Einar Jónsson Sergei Diaghilev, Konstantin Korovin, and the North in Russian Art, 1890-1905 Wilhelm Peterson-Berger's Four Songs in Swedish Folk-Style, Op. 5: Sibelius and the Ecological Breakthrough PART II: INTERMEDIALITY Shooting Tuonela's Swan: Modern Myths and Artistic Convergence in Finnish Symbolism Music Beyond the Breakthrough: Sibelius, Hofmannsthal, and the Summoning of Everyman Composing a Nordic Renaissance: Ture Rangström's music for Till Damaskus (III) Gramophones and Modernity in the North PART III: MODERNIST LEGACIES Fartein Valen's Atonal Breakthrough Northern Light: Jaezeps Vitols, Cosmopolitan Nationalist on the Axis Riga - St. Petersburg Sibelius Reception in Britain, 1901-1939: Centre and Periphery in the Musical Construction of the North Breaking Down the Breakthrough Index

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Book SynopsisAn innovative study of the ways in which theological themes related to earthly and heavenly 'treasures' and Bach's own apparent attentiveness to the spiritual values related to money intertwined in his sacred music. In Johann Sebastian Bach's Lutheran church setting, various biblical ideas were communicated through sermons and songs to encourage parishioners to emulate Christian doctrine in their own lives. Such narratives are based on an understanding that one's lifetime on earth is a temporal passageway to eternity after death, where souls are sent either to heaven or hell based on one's belief or unbelief. Throughout J. S. Bach's Material and Spiritual Treasures, Bach scholar Noelle M. Heber explores theological themes related to earthly and heavenly 'treasures' in Bach's sacred music through an examination of selected texts from Bach's personal theological library. The book's storyline is organised around biblical concepts that are accented in Lutheran thought and in Bach's church compositions, such as the poverty and treasure of Christ and parables that contrast material and spiritual riches. While focused primarily on the greater theological framework, Heber presents an updated survey of Bach's own financial situation and considers his apparent attentiveness to spiritual values related to money. This multifaceted study investigates intertwining biblical ideologies and practical everyday matters in a way that features both Bach's religious context and his humanity. This book will appeal to musicologists, theologians, musicians, students, and Bach enthusiasts.Trade ReviewThis book has been painstakingly researched. Its material relating to Bach's career and income will fascinate anyone interested in Bach, while the central chapters dealing with the music and - particularly - the verbal texts of the cantatas and passion under review will appeal especially to those with an interest in the interpretation of theological ideas through the medium of music. * The Consort *Table of ContentsIntroduction Bach's Material Treasures: Career, Salary, and Freelancing The Servant Prince: Poverty of Christ Mammon's Chain: The Destructive and Redemptive Potentials of Material Wealth The Afflicted Shall Eat: Tables Are Turned in Eternity Spiritual Manna: The Lord Embraces the Poor 'Blood Money': The Coins That Bought Jesus' Death Bach's Spiritual Treasures: Values and Priorities Bibliography Index

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Book SynopsisA fully annotated edition of more than 1600 letters from and to Gerald Finzi, spanning the composer's life from ca. the early 1920s up until his untimely death in 1956. WINNER of the 2022 C.B. Oldman prize, by the International Association of Music Libraries, Archives and Documentation Centres (IAMLS UK & Irl) Gerald Finzi's (1901-1956) masterpiece is the radiant and touching cantata Dies Natalis. He is also highly regarded for his Thomas Hardy song-settings, for his Intimations of Immortality, and for his fine cello and clarinet concertos. As a scholar, he championed the then neglected composers Hubert Parry and Ivor Gurney, and the eighteenth-century John Stanley, William Boyce and Richard Mudge, composers he revived with the amateur orchestra he founded. Diana McVeagh, Finzi's biographer, brings together more than 1600 letters from and to Gerald Finzi, spanning the composer's life from the early 1920s until his untimely death in 1956. His more than 160 correspondents include Ralph Vaughan Williams, Herbert Howells, Edmund Rubbra, Arthur Bliss and Howard Ferguson, Michael Tippett, Benjamin Britten and Sir John Barbirolli, the poet Edmund Blunden, and the artist John Aldridge, making this a portrait not only of Gerald Finzi but also of his group of composer, musician and artist friends in the first half of the twentieth century. In these mostly unpublished letters Finzi emerges as a multi-faceted and complex character, developing from a solitary, introverted youth into a man with strong views and wide interests: education, pacifism, vegetarianism, the Arts and Crafts movement and the English pastoral tradition, among others. From amusing trivia to the deeply serious ideas and principles Finzi set out at the onset of war and in the 1950s, these letters allow for first-hand insights into his personality and background. This definitive edition is fully annotated, offering context with substantial commentaries on the correspondence, illustrations by Joy Finzi, a chronology, bibliography and a catalogue of works.Trade ReviewThis unique volume ... is a treasure trove, beautifully organized and entrancing to read.... Finzi appears to have been an inveterate writer of often long and detailed letters, and his amenable style of prose makes for compelling reading. -- Jeremy Dibble * GRAMOPHONE *This wonderful labour of love (and it must have been a labour) preserves in a quite special way the history of the life and times of a very specific musical milieu as well as Finzi's personal musical history . . . a literary and musical "Everest" elegantly conquered: a quite outstanding achievement. -- Lewis Foreman * ELGAR SOCIETY JOURNAL *In our age of extravagant promotion, intensive publicity, and the frequent over-politicisation of many writers, I believe it is hard to over-estimate the importance of Diana McVeagh's volume of Finzi letters. . . . By combining this vast trove of letters with a first-class commentary, we can experience at first-hand this vivid depiction of a certain strand within twentieth-century British music. [It] reveals not just an individual but a whole community. -- Jonathan Clinch * FINZI FRIENDS JOURNAL *By bringing together this collection of Finzi's letters, arguably among the finest of any 20th-century British composer, admirers and enthusiasts of the music of this period are in Diana McVeagh's debt: this volume is a treasure trove to return to - again, and again. -- Andrew Burn * FINZI FRIENDS JOURNAL *The publication of Diana McVeagh's long-awaited edition of Finzi's letters is properly a cause for celebration. They are an invaluable resource for those interested in British music during the first half of the twentieth century. The letters encompass an amazingly broad spectrum of musical life. The painstakingly researched cast of musical executants, composers and writers (as well as pomologists) means that countless students of Finzi's era will find new resources or be able to extend their existing understanding. -- Martin Bussey * FINZI FRIENDS JOURNAL *The 41-year span of these letters represents a substantial resource as an informal social history of the time and of the sensibilities and musical activities of one man and his circle. . . . Because of the interesting variety of Finzi's correspondents - including important movers and shakers in the British musical life of the time, as well as those now rarely remembered - these letters add a significant depth of individual flavour to the more general historical treatments. -- David Wright * THE MUSICAL TIMES *Diana McVeagh, who has edited a massive, 1080-page two-kilo volume of the composer's letters, is clear-headed and unsentimental in her estimation of his importance. . . . The book is fascinating for its glimpses into not only into the creative mind of a lesser composer and his circle, but also a time and place. -- Andrew Ford * INSIDE STORY, ABC RADIO *Gerald Finzi was an eager and urbane letter-writer, and Diana McVeagh, now in her 96th year, has done him proud. Her edition is a triumph of determined common sense and value for money. -- Stephen Banfield * Journal of Musicological Research *Table of ContentsPrologue A Young Man's Exhortation, 1915-33 Haste on my Joys! 1933-39 Oh Fair to See, 1939-41 Channel Firing, 1941-45 Sing Out Cecilia's Name, 1945-51 The Too Short Time, 1951-56 Epilogue Finzi's Circle Catalogue of Finzi's Works Finzi's Writings Select Bibliography Index of Finzi's Works General Index

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Book SynopsisDrawing on a wealth of unexplored sources, this biography offers the first comprehensive critical reappraisal of the life and works of Nikolay Myaskovsky. Zuk's account is far removed from Cold War clichés of the regimented Soviet artist or sentimental stereotypes of persecuted genius. 2022 CHOICE Outstanding Academic Title Winner. Drawing on a wealth of unexplored documentation, this biography reappraises the life and work of Nikolay Myaskovsky (1881-1950) - a central figure in twentieth-century Russian musical culture. The story of Myaskovsky's unlikely rise to prominence is an absorbing one. Destined by family tradition for a military career, he was 25 before he could leave the army and devote himself to music. He had just begun to emerge as a young composer of promise when he was called up for active service on Russia's western front in August 1914. On returning to civilian life in 1921, he played a major role in revitalising professional musical activity after the depredations of the Civil War years. His career vividly illustrates the challenges facing artists as they sought to work out a modus vivendi with Soviet power. Zuk's account depicts the composer and his milieu against the backdrop of his turbulent times, examining his involvement with Soviet musical institutions and his relationships with Prokofiev, Shostakovich, and other notable musicians. The portrait is far removed from Cold War clichés of the regimented Soviet artist or sentimental stereotypes of persecuted genius. Myaskovsky emerges as a man who displayed remarkable courage and integrity in the face of many pressures. The book also brings into focus the distinctive nature of Myaskovsky's creative achievement and affirms his stature as a leading symphonist of the era.Trade ReviewBoth in word and in deed, Myaskovsky was truly "the artistic conscience of Soviet music." How rarely such warm words came his way during his lifetime. But at long last now, 71 years after his death, we have a book that reveals how richly deserved they were.... Zuk has done music lovers an immense service in this book. In its depth of research, it is far and away the finest study of its subject, and it stands alongside the best books on Soviet music: its accounts of the ideological turning points of Revolution, Cultural Revolution and Socialist Realism are models of their kind. -- David Fanning * Gramophone *Nikolay Myaskovsky (1881-1950) and his milieu are masterfully portrayed by the erudite and scholarly Patrick Zuk in this monograph which took nearly seven years to complete. It is comprehensively researched and would be enjoyed by professional musicians, students and laymen alike. -- Andrew Lorenz * Stringendo, Journal of the Australian Strings Association *In this groundbreaking endeavor, Zuk (Durham Univ., UK) presents an in-depth biography of Soviet composer Nikolay Myaskovsky . . . . [T]he first-ever comprehensive and objective study of the man and his music. This is an important book. -- D. Arnold, University of North Texas * CHOICE *Patrick Zuk's [book] is the first-ever substantial scholarly biography on [Myaskovsky], in any language. . . . A 'setting-the-record straight'-style book would be an achievement in itself, but Zuk goes beyond this noble aim, to engage with prolonged, meticulous archival work. . . . The volume is not only 'definitive' as an essential resource for anyone interested in Myaskovsky, but sets a benchmark against which any future archival work will be measured. . . . Overall, this volume is indispensable for any researcher of Russian and Soviet music. -- Daniel Elphick * Music & Letters *Nikolay Myaskovsky (1881-1950) and his milieu are masterfully portrayed by the erudite and scholarly Patrick Zuk in this monograph which took nearly seven years to complete. It is comprehensively researched and would be enjoyed by professional musicians, students and laymen alike. -- Andrew Lorenz * AUSTA Stringendo *Table of ContentsBeginnings: 1881-1902 Apprenticeship: 1903-1911 Emergence: 1911-1914 War and Revolution: 1914-1917 Aftermath: 1918-1921 Expanding Horizons: 1921-1923 Cross-Currents: 1924-1926 'Sheer Overcoming': 1927-1931 Time of Troubles: 1932-1941 Endurance: 1941-1945 Final Years: 1946-1950 Appendix I: A Note on Recordings Appendix II: List of Published Works Bibliography

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Book SynopsisThis book examines Delius's individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer's musical style such a unique voice. Frederick Delius' (1862-1934) music has proved impervious to analytical definition. Delius's approaches to genre, form, harmony, orchestration and literary texts are all highly individual, not to say eccentric in their deliberate aim to avoid conformity. Rarely does Delius follow a conventional line, and though one can readily point to important influences, the larger Gestalt of each work has a syntax and coherence for which conventional analytical methods are mostly inadequate. Delius's musical style has also defied one of the most essential critical tools of his musical epoque - that of national identity. His style bears no relation either to the Victorian or Edwardian aesthetic of British music spearheaded by Parry, Stanford and Elgar before the First World War, nor to the more overtly nationalist, folk-song-orientated pastoralism of post-war Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a 'stateless' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius's musical education at the Leipzig Conservatorium and the works he produced there. Delius's musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and 'genre' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius's cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche's writings and the genre of dance, and the role of his 'earlier' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.Trade ReviewThoughtful, thorough, and based on much reflection and study of the archives and manuscripts, this book may finally settle the issue of form and style as it relates to Delius's work. -- J.K. Matthews, Rowan University * CHOICE *Table of ContentsPART 1 THE SEEDS OF COSMOPOLITANISM 1 An unconventional apprenticeship: Bradford, Florida and Leipzig (1862-1888) 2 Creative self-communion: Paa Vidderne, Lieder aus dem Norwegischen, Légendes, Drei Symphonische Dichtungen, Songs (1888-1891) 3 A Wagnerian odyssey: Irmelin and The Magic Fountain (1891-1895) 4 A stylistic fulcrum: Koanga, the Danish Songs, the Piano Concerto and Folkeraadet (1895-1897) 5 A Nietzschean 'dance' epiphany: Nieztsche Songs, Mitternachtslied Zarathustras, Paris, La Ronde se déroule, Lebenstanz (1898-1901) PART 2 THE VOICE OF INDIVIDUALITY 6 Operatic innovation: Romeo und Juliet auf dem Dorfe and Margot le Rouge (1898-1902) 7 American apogee: Appalachia (1902) and Sea Drift (1902-3) 8 The Nietzschean obsession: A Mass of Life (1904-6) 9 'English' interlude: the partsong as innovative genre: Songs of Sunset, 'On Craig Ddu', 'Wanderer's Song', 'Midsummer Song', 'To be sung of a summer night on the river' (1906-8) 10 The symphonic poem (I): Brigg Fair, In a Summer Garden, Dance Rhapsody No. 1 (1907-1912) 11 Homage to Jacobsen: Fennimore and Gerda, An Arabesque (1908-1913) PART 3 FAME AND DECLINE 12 Symphonic poem (II): Two Pieces for Small Orchestra, Song of the High Hills, North Country Sketches (1911-1914) 13 Music of the war years and after (I): Dance Rhapsody No. 2, Requiem, Eventyr, A Song Before Sunrise, Poem of Life and Love, Hassan 14 Music of the war years and after (II): Sonatas and Concertos: A Stylistic Paradox: Violin Sonata No. 1, Double Concerto, Cello Sonata, String Quartet, Violin Concerto, Cello Concerto, Violin Sonata No. 2 (1914-1923) 15 The last years of creativity: Song of Summer, A Late Lark, Cynara, Violin Sonata No. 3, Songs of Farewell, Irmelin Prelude, Fantastic Dance, Idyll (1923-1934) Epilogue Bibliography

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Book SynopsisThe first English translation of Bizet's letters and journals from his stay in Italy, with explanatory texts from one of the leading authorities on the composer's life and music. In 1857, Georges Bizet (1838-1875) won the prestigious Prix de Rome scholarship which allowed him to study in Italy for a few years at the expense of the French state. While Bizet's correspondence from this time suggests that he was not fond of Italian music, he was especially drawn to the landscape and Italian Renaissance art and painting. Though Bizet's thoughts later turned away from rural life and the masterpieces of the Renaissance, his letters and journals from this period document the growth of a young musician who would eventually write Carmen. Translated into English for the first time, Bizet's letters from his stay in Italy (at the Villa Medici in Rome, with expeditions to various other parts of the country) reveal much about his character and tastes. These extraordinary documents are fully annotated, and presented alongside never-before-published translations of Bizet's journals from the same years. Linking textual guides supplied by one of the leading authorities on the composer provide unique insights into the composer's formative years that cannot be found anywhere else.Table of ContentsPreface Travels, December 1857-January 1858 Rome, January-May 1858 Rome, May-December 1858 Rome, January-May 1859 Travels, May-October 1859 Rome, November 1859-July 1860 Travels, July-September 1860 Postface Bibliography Index of Artists and Architects Index of Villa Medici Inmates Index of Places and Persons

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Book SynopsisSituates the controversial narrative of 'The English Musical Renaissance' within its wider historical context. Throughout the nineteenth century a fierce debate about the future of English music was raging in Britain. Just as English music was appearing to advance in quality, the impact of Richard Wagner altered the course of the debate. Alarmed at the Wagnerian influence on English composers, critics expressed relief when that influence appeared to abate, and then presented English music as the antidote to Wagnerian decadence. However, the optimism that England was in a position to lead the musical world was short-lived and a new generation of critics found English composition - with the exception of Elgar - severely lacking. The book identifies themes such as materialism and nationalism that emerged during the debate. It also places the narrative of 'The English Musical Renaissance' within its rightful wider historical context.Trade ReviewThis is a substantial and important book, continuing the welcome trend towards scholarship that is focussed more on the neglected hinterland of musicians' working environments and formative experiences than the celebrated and well-catered-for monolithic icons of cultural heritage, such as individual composers and institutions. * The Consort *Table of ContentsIntroduction 1 - 1815-25: an unmusical nation? 2 - 1826-75: hope deferred 3 - 1876-87: the impact of Wagner 4 - 1888-92: dissenting voices 5 - 1893-7: the expression of feeling 6 - 1898-1902: the limits of musical expression: ethical and theoretical 7 - 1903-7: the younger generation 8 - Demand and supply 9 - Themes and issues Periodicals and contributors Bibliography

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Book SynopsisReconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first century The first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filtered not only into 'classical' large-scale heroic symphonies and virtuoso solo concerts, but also into chamber music and vernacular dance music. The third part documents the forced heroization of music in twentieth-century totalitarian regimes such as Nazi-Germany and the Soviet Union and its consequences for heroic thinking and musical styles in the time thereafter. Final chapters show how recent rock-folk and avant-garde musicians in North America and Europe feature new heroic models such as the everyday hero and the scientific heroine revealing new confidence in the idea of the heroic.Table of ContentsIntroduction Beate Kutschke and Katherine Butler Part I. The Configuration of Heroic Music as a Tool for Shaping Moral and Political Identity 1. Holy Heroes: On the Varieties of a Metaphor and its Musical Expression in the Medieval Historiae Roman Hankeln 2. The Heroic in Music and the Musicality of the Hero in Late Sixteenth-Century England Katherine Butler 3. Virtù eroica: Heroic Music, Social Norms, and Musical Reflections in Seventeenth- and Eighteenth-Century Italy Berthold Over 4. Handel's Heroes Jonathan Rhodes Lee Part II. Music, its Ethics and Politics - Beyond 'Beethoven Hero' 5. Design Principles for the Musical Heroic Lawrence M. Zbikowski 6. Tonal Relationships and Spiritual Heroism in Beethoven's Late Style Olga Sánchez-Kisielewska 7. Music, Content, and Context: The Case of Nineteenth-Century Hungarian Music in the Light of the Romantic Heroic Vision Csilla Pethő-Vernet 8. The Austro-German Heroic in the Music-Hermeneutical Era: Musical Discourse in the Service of Nationalist-Patriotic Armament between 1887 and the Early 1930s Beate Kutschke Part III. Heroic Music and its Moralities in Dictatorships and Post-Heroic Democracies 9. Heroicizing Handel in the Third Reich: Towards the Collapse of Political Propaganda Juliane Riepe 10. Soviet War Symphonies and the Heroic Russian Epic Nathan Seinen 11. 'Someone to Save the Day': Popular Music, Springsteen, and the Circle of Hero Production Dietrich Helms 12. Émilie du Châtelet, Kaija Saariaho, and Heroes of the Twenty-First Century Judith Lochhead Afterword Scott Burnham Bibliography Index

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Book SynopsisJust as America was observed in French literary and political commentary, we find representations of America in French music, dance, and theatre which serve as the focus of this volume. Following the American Revolution, French authors often viewed the United States as a laboratory for the forging of new practices of liberté and égalité, in affinity with France's own Revolutionary ideals but in competition with lingering anti-American depictions of an inferior, untamed New World. The volume examines French imagining of America through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, homages to Washington, Franklin and Lafayette and negotiations of Francophone identity in New Orleans. The subject of race features prominently in paradoxical depictions of slavery, freedom, and revolution in the United States and French Caribbean colonies of 'Amérique' and in varied interpretations of American music and gendered identity. Essays consider French constructions of the Indigenous American and Black American 'exotic' that intersect with tropes of noble, pastoral savagery, menacing barbarism and the 'civilising' potency of French culture. Such French constructions reveal both a revulsion of racial alterity and an attraction to the expressive, even subversive, freedom of Americanness. Investigations of French conceptions of America extend to critiques of American orchestral music, Gottschalk's Louisianan-Caribbean Creole works, Buffalo Bill's spectacles and the cakewalk in Paris. With scholarly contributions on music, dance, theatre and opera, the volume will be essential reading for students and scholars of these disciplines.Table of ContentsIntroduction Part I. American liberté, sauvagerie and esclavage 1 Between Amérique and Colonial France: Revolutionary Tales of liberté and esclavage Diana R. Hallman 2 Justamant's Le Bossu and Depictions of Indigenous Americans in Nineteenth-Century French Ballet Marian Smith, Sarah Gutsche-Miller and Helena Kopchick Spencer 3 Louisiana Imagined: Gender, Race and Slavery in Le Planteur (1839) Helena Kopchick Spencer Part II. Myths of America and Intersecting Identities 4 'Brise du Sud': American Identity and War in the Popular Sheet Music of Francophone New Orleans Charlotte Bentley 5 'The Most Seductive Creole Indolence': Louis Moreau Gottschalk in the French Press Laura Moore Pruett 6 Symphonies from the New World: The Myths and Realities of American Orchestral Music in France Douglas Shadle Part III. Soundscapes and Sonic Fantasies 7 Historical Acoustemology in the French Romantic Travelogue: Chateaubriand's Sonic Imagining of the New World Ruth E. Rosenberg 8 La Liberté éclairant le monde: Transatlantic Soundscapes for the Statue of Liberty Annegret Fauser Part IV. America, Commodification and Race at the fin de siècle9 Buffalo Bill and the Sound of America at the 1889 World's Fair Mark A. Pottinger 10 Cakewalking in Paris: New Representations and Contexts of African American Culture César A. Leal Bibliography Index

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Book SynopsisHow does music manifest through time and, simultaneously, how does time manifest through music? For the experimental psychologist, the experience of time during music listening or performance is something that may be studied empirically. For philosophers, fundamental questions of time continue to be the subject of ongoing debate in philosophy: is time linear? What are past, present and future? What is duration and what makes a perceptual present, or moment? For the performer, musical time can exist as a subjective vehicle of expression. Although any of the three could be chosen as a starting point, the order presented in the text's structure offers a journey from empiricism to application, via contemplation. This volume deals with the complex relationship between music and time. It presents a staunchly interdisciplinary perspective defined by the terms Psychology, Philosophy and Practice. The text is divided into sections concerning "experience", "enactment" and "meaning", as points of intersection between the three primary methodologies of the title. As such, this is a book for the scholar, the student of music, and the interested reader. For the scholar, it offers new interconnections and comparisons. For the student, its pluralistic approach presents the most comprehensive overview available to date regarding the topic. For the interested reader, the volume offers answers to questions which concern us as listeners and audiences at concerts, gigs, and festivals.Table of ContentsIntroduction Matthew Sergeant and Michelle Phillips Part I. Experiences 1. Music Listening and the Perception of Time: The LEMI Model Michelle Phillips 2. The Remembrance of Things to Be: An Approach to Memory, Repetition, and Cyclical Structures Bryn Harrison 3. An Overview of the Psychology of Time Perception Luke A. Jones 4. The Perceptual Present and the Philosophical Puzzle of Musical Experience Abigail Connor and Joel Smith Part II. Enactments 5. Ensemble Timing in String Quartets Alan Wing, Maria Witek, Ryan Stables, and Adrian Bradbury 6. Midway Ambiguities: Disorientation and Interpretation in Long-Duration Music Philip Thomas 7. Live Coding as a Theatre of Agency and a Factory of Time Alejandro Franco Briones Part III. Meanings 8. Comparing Temporal Fictions in Tonality and Triadic Post-Tonality: Chopin's Fourth Ballade as a Link Between the Ages Jason Noble 9. Nothing Really Changes': Material Processes in and as Timein hearmleoþ-gieddunga Lauren Redhead 10. Music, Time, and Society Matthew Sergeant Conclusion: Multiplicity, Fluidity, Fragility Michelle Phillips and Matthew Sergeant Bibliography Index

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Book SynopsisThe first book-length study of musical education and culture in twentieth-century Oxford. Music has always played a central role in the life of Oxford, in both the city and university, through the great collegiate choral foundations, the many amateur choirs and instrumentalists, and the professional musicians regularly drawn to perform there. Oxford, with its collegiate system and centuries-long tradition of musical activity, presents a distinctive and multi-layered picture of the role of music in urban culture and university life. The chapters in this book shed light on music's unique ability to link 'town and gown', as shown by the Oxford Bach Choir, the city's many churches, and the major choral foundations. The twentieth century saw the emergence of new musical initiatives and the book traces the development of these, including the University's Faculty of Music and the University Opera Club. Further, it explores music in the newly-founded women's colleges, contrasted with the musical society formed in 1930 at University College, an ancient men's college. The work of Oxford composers, including George Butterworth, Nicola Lefanu, Edmund Rubbra, and William Walton, as well as the composer for several 'Carry on' films, Bruce Montgomery, is surveyed. Two remarkable figures, Sir Hugh Allen and Sir Jack Westrup, recur throughout the book in a variety of contexts. The volume is indispensable reading for scholars and students of musical life in twentieth-century Britain, as well as those interested generally in the history of Oxford's thriving cultural life.Table of ContentsForeword - Eric Clarke 1. Setting the Scene - Robin Darwall-Smith and Susan Wollenberg Part I - Town and Gown 2. Music in the Town - Robin Darwall-Smith and Susan Wollenberg 3. The Oxford Bach Choir, 1896-1997 - Robin Darwall-Smith 4. Music in the City Churches - Peter Ward Jones Part II - Collegiate Music-Making 5. The Choral Foundations - Timothy Day 6. Music in the Oxford Women's Colleges, 1879-1939 -Susan Wollenberg and Melanie von Goldbeck 7.The Balliol Concerts - Susan Wollenberg 8. The University College Musical Society, 1930-2000 - Robin Darwall-Smith Part III - University Institutions 9. The Oxford University Opera Club - Susan Wollenberg with an afterword by Michael Burden 10. The Development of the Faculty of Music - Susan Wollenberg 11. Oxford Composers - John Caldwell 12. 'For the purpose of encouraging the practice and knowledge of chamber music': The Oxford & Cambridge Musical Club, 1899-1940 - Ian Maxwell Index

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