From the Winter 2018 Musical Times, available now


Philippa Tudor: ‘Holst, Vaughan Williams and Walt Whitman’

Laura Hamer: ‘ “Every impulse seems to have died within me except for music”: Gerard Manley Hopkins as composer’

Rodney Stenning Edgecombe: ‘Manzotti’s Excelsior, the tableau vivant and the cantata scenica of the primo ottocento: an essay on form and influence’

Barbara Barry: ‘Op.135: Beethoven’s “Haydn” quartet’

John Arthur: ‘The watermark catalogue of the Neue Mozart-Ausgabe: some addenda and corrigenda


by Andrew Thomson and Arnold Whittall of

Stephen Walsh: Debussy: a painter in sound
Klaus Huber: Plowed time: writings and conversations
Yves Knockaert: Wolfgang Rihm, a chiffre: the 1980s and beyond
Kevin C. Karnes: Arvo Pärt’s Tabula Rasa

From the Autumn 2018 Musical Times, available now


Peter Phillips: ‘Heaven and earth’: a performer’s guide to Josquin’s masses’
Judith Chernaik: ‘Schumann and Clara: a musical intertwining’


by Andrew Thomson and Arnold Whittall of

Erinn E. Knyt: Ferruccio Busoni and his legacy
Kimberley A. Francis, ed.: Nadia Boulanger and the Stravinskys: a selected correspondence
Annegret Fauser: Aaron Copland’s Appalachian Spring
Simon Desbruslais: The music and music theory of Paul Hindemith

From the Summer 2018 Musical Times, available now


Arnold Whittall: ‘Recession, reflation: Skempton, Finnissy and musical modernism’s classical roots’
Fiona Richards: ‘Max & Mick: the partnership of Peter Maxwell Davies and Randolph Stow’
Lionel Pike: ‘ “It’s what I wanted to write”: Howells and Magdalen’
Annika Forkert: ‘ “Always a European”: Edward Clark’s musical work’
Allan W. Atlas: ‘Vaughan Williams and the New York Philharmonic: three glimpses behind the scenes’
Simon Fleming: ‘The land without music: some post-1800 perceptions of 18th-century British music’
Louisa Danielson: ‘The music of a new urban centre: Fort Wayne’s continuing story’


by Benjamin Dwyer and Patricia Howard of

Mark Fitzgerald: The life and music of  James Wilson
Mitchell Cohen: The politics of  opera: a history from Monteverdi to Mozart

From the Spring 2018 Musical Times, available now


Arnold Whittall: ‘Michael Tippett and the model musical citizen’
John Harley: ‘William Forster discovered’
Eric L. Altschuler: ‘A whole-tone scale and a “mirror” repeat in Bach’s partitas and sonatas for solo violin’
Katalin Komlós: ‘Tonus primus in Haydn’s instrumental music’
Barbara Barry: ‘Spiral time and the paradigm of persuasion: recontextualising Beethoven’s String Quartet op.127’
Olga Baird: ‘Josef Woelfl in Warsaw: his Polish patrons, pupils, addressees and friends’

Diego Malquori: ‘Form, dissonance and life in Schoenberg’s expressionist music’


by Andrew Thomson, Arnold Whittall and Patricia Howard of

Paul Watt: Ernest Newman: a critical biography
Vicki P. Stroeher & Justin Vickers, edd.: Benjamin Britten studies: essays on an inexplicit art
David Forrest, Quinn Patrick Ankrum, Stacey Jocoy & Emily Ahrens Yates, edd.: Essays on Benjamin Britten from a centenary symposium
Eric Saylor: English pastoral music: from arcadia to utopia, 1900–1955
Helen Southworth: ‘Fresca’: a life in the making: a biographer’s quest for a forgotten Bloomsbury polymath
RJ Arnold: Musical debate and political culture in France 1700–1830

From the Winter 2017 Musical Times, available now


Stephen Arthur Allen: ‘Symphony within: rehearing Holst’s A Moorside Suite
David Nelson: ‘On visiting Roberto Gerhard in 1961 and 1965, and playing his Capriccio for solo flute’
Mary Cyr: ‘Carmontelle’s portraits of 18th-century musicians’
Beverly Jerold: ‘Performance conditions, standards and Bach’s chorus’
Brian Chapman: ‘Carl Linnaeus, Philip Miller and the librettist of Handel’s Solomon
Katharina Uhde: ‘Rediscovering Joseph Joachim’s “Hungarian” and “Irish” [“Scottish”] fantasias’


by Arnold Whittall, Emanuel Overbeeke and Andrew Thomson of

Severine Neff, Maureen Carr & Gretchen Horlacher, edd.: The Rite of Spring at 100
Donald G. Traut: Stravinsky’s ‘great passacaglia’: recurring elements in the Concerto for Piano and Wind Instruments
Peter O’Hagan: Pierre Boulez and the piano: a study in style and technique
Edward Campbell & Peter O’Hagan, edd.: Pierre Boulez studies
Martin Zenck: Pierre Boulez: die Partitur der Geste und das Theater der avant-garde
Christian Wolff: Occasional pieces: writings and interviews, 1952–2013
Jennie Gottschalk: Experimental music since 1970
Gordon Mumma: Cybersonic arts: adventures in American new music   
Kelly St. Pierre: Bedřich Smetana: myth, music, and propaganda

From the Autumn 2017 Musical Times, available now


Alison Garnham: ‘The first international concert season of the European Broadcasting Union’

Tish Kennedy Davenport: ‘Fridrich Bruk at 80: programmatic narratives and Jewish folk influences in Symphonies 3, 10 and 11’

Patricia Howard: ‘Post mortem: new evidence on the location of Guadagni’s tomb’

Barry Cooper: ‘The early copy of Beethoven’s Allegretto in B minor for string quartet’

Barbara Barry: ‘In search of the enigma code: Beethoven’s A minor quartet op.132 and the double helix’

Joseph Sargent: ‘Howells’s depersonalised Requiem’

William Hart: ‘New light on George Bridgtower’


by Katalin Komlós, Patricia Howard, Andrew Thomson and Chris Walton of

Peter Williams: Bach: a musical biography
Richard Kramer: Cherubino’s leap: in search of the Enlightenment moment
Chris Walton: Richard Flury: the life and music of a Swiss romantic
Raymond Holden: Barbirolli: chronicle of a career
Nigel Simeone & John Tyrrell, edd.: Charles Mackerras

From the Summer 2017 Musical Times, available now


Peter Phillips: ‘Eton encounters: reflections on the Choirbook’

Donald Burrows: ‘Who was Handel’s tenor soloist in 1751?’

Ian Bartlett: ‘Blessed is he: an overlooked early anthem by William Boyce’

Arnold Whittall: ‘Questioning the sound: the music of Christian Mason’


by Andrew Thomson, David Wright, Arnold Whittall and David Cormack of

John Carnelley: George Smart and nineteenth-century concert life
Philip Rupprecht: British musical modernism: the Manchester Group and their contemporaries
Mark Hutchinson: Coherence in new music: experience, aesthetics, analysis
Peter Edwards: György Ligeti’s Le Grand Macabre: postmodernism, musico-dramatic form and the grotesque
Rose Dodd, ed.: Perspectives on the music of Christopher Fox: straight lines in broken times
Edward Venn: Thomas Adès: Asyla
Oswald Georg Bauer: Die Geschichte der Bayreuther Festspiele