From the Spring 2020 Musical Times, available now


Articles

 Arnold Whittall: ‘ “This is tomorrow”: Birtwistle’s Orpheus in another world
Donald Burrows: ‘In Handel’s shadow: performances of Messiah in Dublin during the 1740s
Allan W. Atlas: ‘Vaughan Williams, the Serenade to music and opening night at Lincoln Center’
Michael Talbot: ‘Antoine Favre (c.1670–c.1739): a good violinist and an even better composer’
Beverly Jerold: ‘Distinguishing between dotted notes and notes inégales
Eric L. Altschuler: ‘Cantata aria BWV 151/1 and the proportional theory of tempos for JS Bach’
David Cormack: ‘Wagner’s German “Marseillaise” ’
Robin Maconie: ‘Trios and epitaphs: on Boulez’s Sur incises’

Reviews 

by Andrew Thomson and Arnold Whittall of

David CH Wright: The Royal College of Music and its contexts: an artistic and social history
Matthew Mugmon: Aaron Copland and the American legacy of Gustav Mahler
Amy Lynn Wlodarski: George Rochberg, American composer: personal trauma and artistic creativity
Sumanth Gopinath & Pwyll ap Siôn, edd.: Rethinking Reich
Hans Keller: Beethoven’s String Quartet in B flat major, op.130: four lectures

From the Winter 2019 Musical Times, available now

Articles

Ronald Broude & Mary Cyr: ‘Keeping the customers satisfied: updating older music in Bourbon France’
Judith Chernaik: ‘Brahms’s Clara themes revisited’
Annika Forkert: ‘Lutyens in Liverpool’
Robin Maconie: ‘Reading Cage’
Brian Newbould: ‘On Mozart 3: when space is music’
Robert Orledge: ‘ “To boldly go”: Erik Satie’s “simple little prelude” of 1894 sets out on an esoteric astral journey towards “The Heroic Gate of Heaven” ’

Reviews

by Patricia Howard, Andrew Thomson and Arnold Whittall of   
       
Michael Allis, ed.: Granville Bantock’s letters to William Wallace and Ernest Newman, 1893–1921
Margaret R. Butler: Musical theater in eighteenth-century Parma: entertainment, sovereignty, reform
Jeremy Dibble & Julian Horton, edd.: British musical criticism and intellectual thought, 1850–1950
Rose Dodd, ed.: Writing to Louis Andriessen: commentaries on life and music
Daniel M. Grimley: Delius and the sound of place
François de Médicis & Steven Huebner, edd.: Debussy’s resonance
Desmond Scott, Lewis Foreman & Leslie De’Ath, edd.: The Cyril Scott companion: unity in diversity
Ian Woodfield: Cabals & satires: Mozart’s comic operas in Vienna

From the Autumn 2019 Musical Times, available now

Articles

Robin Maconie: ‘Messiaen: confessions’
Benjamin Dwyer: ‘Joycean aesthetics and mythic imagination in the music of Frank Corcoran’
Brian Newbould: ‘On Mozart 2: Mozart and the Prague terraces’
Patricia Howard: ‘Guadagni the composer: a modest addition to his portfolio’
Christopher Mabley: ‘Johann’s Passion 3: further observations on Bach’s self-composing in his spiritual choral and organ music’
John Harley: ‘Who was William Watton?’
Richard Turbet: ‘Mr Bird, Mr Ferdinand and Mr Holborne: new lessons’
Eric L. Altschuler & Edward D. Latham: ‘Weelkes and Rossi: a concert 420 years in the making’

Reviews

by Andrew Thomson, Arnold Whittall and David Wright of   
       
Pierre Boulez: Music lessons: the Collège de France lectures
Oliver Soden: Michael Tippett: the biography
Jonathan Impett: Routledge handbook to Luigi Nono and musical thought
Arnold Schoenberg: Schoenberg’s correspondence with American composers
Mark Berry: Arnold Schoenberg
Emily Abrams Ansari: The sound of a superpower: musical Americanism and the Cold War
Chris Price: The Canterbury Catch Club 1828: music in the frame

From the Summer 2019 Musical Times, available now

Articles

Brian Newbould: ‘On Mozart 1: Mozart and recreative analysis’
Rita Steblin: ‘New evidence for Josephine as the “Immortal Beloved” involving Beethoven and England in 1818’
Chris Walton: ‘Leonore, Isolde, Lulu: the strange afterlife of Beethoven’s “Immortal Beloved” ’
Arnold Whittall: ‘Dreaming the darkness: Britten, Birtwistle and operatic fantasies’
Veronica Franke: ‘Roelof Temmingh’s neo-Palestrinian, a cappella settings of three Latin liturgical texts’
Christopher Mabley: ‘Johann’s passion 2: how Bach composed himself into works before and after his Johannes Passion 
Matthias Range: ‘Mendelssohn’s Wedding March at weddings’

Reviews

by Patricia Howard and Arnold Whittall of

Ferdinand Hiller: Conversations with Rossini
Deborah Heckert, ed.: Pleasing and interesting anecdotes: an autobiography of Giacomo Gotifredo Ferrari (1763–1842)
Giovanni Pacini: My artistic memoirs
Lisa Jakelski & Nicholas Reyland, edd.: Lutosławski’s worlds
Kate Kennedy, ed.: Literary Britten: words and music in Benjamin Britten’s vocal works
Béla Bartók: Sonata for two pianos and percussion

From the Spring 2019 Musical Times, available now

Articles


Michael Talbot: ‘George Berg: an original musical and scientific spirit in Georgian London’
Simon Fleming: ‘The Georgian provincial town waits: a reappraisal’
Michael Kassler: ‘John Sainsbury and his Dictionary of musicians: some recent findings’
Joseph Vella Bondin: ‘The Order of  St John in Malta: liturgical music in its magnificent primary temple’
Christopher Mabley: ‘Johann’s passion 1: how Bach composed himself  into his Johannes Passion 
Stephen Arthur Allen: ‘Sepia tints or ghosts pictured within: late style and Elgar’s The Severn Suite

Reviews

by Arnold Whittall, Patricia Howard, Andrew Thomson and Chris Walton of

David Schiff: Carter 
Simon P. Keefe: Mozart in Vienna: the final decade 
Judith Chernaik: Schumann: the faces and the masks 
Donald Sanders: Experiencing Schumann: a listener’s companion 
Alexander Stefaniak: Schumann’s virtuosity and Kreisleriana: criticism, composition, and performance in nineteenth-century Germany

From the Winter 2018 Musical Times, available now

Articles


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

Reviews

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

Articles


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

Reviews

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