The Blue French

    

Peter Phillips’s debut novel, The Blue French, is now available here and via amazon.

Have you ever wanted to take part in a performance of Tallis's colossal Spem in alium? Or experience Allegri's sublime Miserere up close? Now is your chance to live it all, as Peter Phillips describes the world of London’s singers – professional, amateur and chaotic – as they sing, argue and fall in love. Join them in The Blue French, a friendly North London restaurant where musicians of every kind gather between sessions. Gossip, eat and drink with them as they attend rehearsals. Above all, meet Ahmed, the Palestinian proprietor, and his mysterious helper Eugene, with their own stories to tell. Here is a whole society of creative people in action, revealed in minute detail, unlikely to be exposed to such a unblinking inspection again.

The author, Peter Phillips, is Director of The Tallis Scholars, which this year celebrates its 50th anniversary.

From the Autumn 2023 Musical Times, available now

Articles 

Peter Phillips: ‘Fifty years on’
Brian Newbould: ‘Double passing notes and the “sesta sfiorata” ’
Allan W. Atlas: ‘Madelon Coates’s guide to London: Vaughan Williams’s A London Symphony in the United States, 1920–1925

Reviews

by Andrew Thomson, David Wright, Arnold Whittall and Richard Langham Smith of 

Eric Saylor: Vaughan Williams
Nigel Simeone: Ralph Vaughan Williams and Adrian Boult
Caroline Davison: The Captain’s Apprentice: Ralph Vaughan Williams and the story of a folk song
Robert O. Gjerdingen: Child composers in the old conservatories: how orphans became elite musicians
Karen Arrandale: Edward J. Dent: a life of words and music
Tom Perchard, Stephen Graham, Tim Rutherford-Johnson & Holly Rogers: Twentieth century music in the West: an introduction
Denis Herlin:
Claude Debussy: Portraits et √Čtudes

From the Summer 2023 Musical Times, available now

Articles 

Arnold Whittall: ‘James Wood at 70: a composer and a treatise’
Stephen Arthur Allen: ‘Bliss in brass: Sir Arthur’s two brass band masterpieces recontextualised’
Justin Vickers: ‘Britten, Pears, and Pushkin: a history of The poet’s echo in translation’
H. Diack Johnstone: ‘Thomas Bever: an 18th-century jurist and his collection of old music’
Lionel Pike: ‘Ward’s pre-Gostling basses’

Review

by Andrew Thomson of 
Vicki P. Stroeher & Justin Vickers, edd.: Benjamin Britten in context

From the Spring 2023 Musical Times, available now

Articles

Michael Talbot: ‘Philip Peter Eiffert: a German oboist and composer in 18th-century London’
Brian Newbould: ‘Mozart makes ends meet’
Barbara Barry: ‘Perspectives on Schubert’s “Wanderer” Fantasy: conceptual models and compositional strategy “quasi una fantaisa” ’
Arnold Whittall: ‘Siegfried as master smith: Wagner’s ironic hymn to stability’
James Porter: ‘Lied composition and ethical action: settings of Goethe’s “Wonne der Wehmuth” by Alfred Julius Becher and Adolf Busch’

Reviews 

by Andrew Thomson and Arnold Whittall of

Rebecca Mitchell: Sergei Rachmaninoff
Richard Kramer: From the ruins of Enlightenment: Beethoven and Schubert in their solitude

From the Winter 2022 Musical Times, available now

 

Articles


Arnold Whittall: ‘Birtwistle’s Orphic rites’
Jane Alden: ‘Keeping score with the Scratch Orchestra’
Lionel Pike: ‘Howells and Christ Church’
H. Diack Johnstone: ‘The name is Bond, Henry Bond: a small collection of 17th-century French music in the Royal Music Library’
Robin Maconie: ‘Eimert’s complaint: on the origins of electronic music’
Mary Cyr: ‘Gulliver in France: voyage to the Island of Folly’
Brian Newbould: ‘Choral as texture in symphonic music 2’
Eric L. Altschuler & Edward D. Latham: ‘Another two modally inflected miniature masterpieces by Brahms’

Reviews 

by Arnold Whittall and Richard Langham Smith of

Stephen Walsh: The beloved vision: music in the romantic age
Carlo Caballero & Stephen Rumph, edd.: Fauré studies
Charles Ellis: Wagner’s Ring: a fresh look at the dramatic and musical structure

From the Autumn 2022 Musical Times, available now

Articles

Brian Newbould: ‘Choral as texture in symphonic music 1: Mozart, Schubert, Mendelssohn, Schumann’
Barbara Barry: ‘Mind games: the structure of energy and the character of structure in Beethoven’s “Archduke” Trio’
Arnold Whittall: ‘A sense of space: recent chamber works by Christian Mason’
Benjamin Dwyer: ‘Teleology or transcendence? Perspectives on Liget’s collusion with automatism’
Veronica Franke: ‘Thematic transformation, indigeneous song and form in Hendrik Hofmeyr’s Partita Africana

Reviews 

by David Wright, Andrew Thomson, Richard Langham Smith and Arnold Whittall of

Kate Guthrie: The art of appreciation: music and middlebrow culture in modern Britain
Jeremy Dibble: The music of Frederick Delius: style, form and ethos
Philippe Blay: Reynaldo Hahn
Matthew Aucoin: The impossible art: adventures in opera

From the Summer 2022 Musical Times, available now

Articles

John Bergsagel: ‘Gade in England’
Arnold Whittall: ‘Sam Hayden’s material mysteries’
Lionel Pike: ‘Thoughts on reconstructing Ward’s verse anthems’
Stephen Allen: ‘Love requiem 3: Resurgam and beyond’
Peter Van der Merwe: ‘The Handelian fourth’

Reviews 

by Judith Chernaik and Arnold Whittall of

Steven Isserlis: The Bach cello suites: a companion
Benjamin Shute: Sei solo: Symbolum? The theology of J.S. Bach’s solo violin works
Richard Stokes: The complete songs of Hugo Wolf: life, letters, Lieder
Daniel Chua & Alexander Rehding: Alien listening: Voyager’s Golden Record and music from the earth
Sunny Knable, ed.: Looking within: the music of John Palmer: dialogues and essays