tag:blogger.com,1999:blog-82923416772407672362024-03-06T05:23:09.175+00:00The Musical Timesestablished 1844The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comBlogger58125tag:blogger.com,1999:blog-8292341677240767236.post-48041060219119854152023-12-18T09:56:00.000+00:002023-12-18T09:56:17.241+00:00From the Winter 2023 Musical Times, available now<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-3Ltt3Pcc5dtd-0Xt1B46DMT1sSTYoMptKSGVmCPBspPspdTp76j85YdmLum02OHRhkVg0Q0cW6CvzdXcVJqoKrWPnw2zmuRjO0unK9GEfODq3lTf16yhD8kHoNLgdgAmHpgtaeFZuB_V-9osqgD3pu50CI5fX29QmsGJHsXHafdd38aQ3zbwBIt1In4/s2906/mt%20cover%20winter%202023.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2906" data-original-width="2232" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-3Ltt3Pcc5dtd-0Xt1B46DMT1sSTYoMptKSGVmCPBspPspdTp76j85YdmLum02OHRhkVg0Q0cW6CvzdXcVJqoKrWPnw2zmuRjO0unK9GEfODq3lTf16yhD8kHoNLgdgAmHpgtaeFZuB_V-9osqgD3pu50CI5fX29QmsGJHsXHafdd38aQ3zbwBIt1In4/w154-h200/mt%20cover%20winter%202023.jpg" width="154" /></a></b></div><b>Articles</b><p></p><p>Michael Talbot: ‘FE Fisher revisited: more on the life and music of Friedrich Ernst Fischer (<i>c.</i>1711/12–1760)’ <br /><br />Andrew Thomson: ‘Dissolution and resolution: superimposed fourth formations in Mahler 7 and Schoenberg’s op.9’<br /><br />Barbara Barry: ‘Perspectives on Schubert’s “Wanderer” Fantasy: conceptual models and compositional strategy “quasi una fantaisa”’<br /><br />Judith Chernaik: ‘Brahms in conversation with Bach: the violin Chaconne arranged for piano, left hand’<br /><br />Donald Burrows: ‘ “Lost” movements from the early performances of Handel’s <i>Messiah</i>’<br /><br />Kerry McCarthy & John Harley: ‘William Byrd’s library revisited’</p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-28751740876797408982023-11-07T16:50:00.002+00:002023-11-07T21:07:45.518+00:00The Blue French<p><span style="font-size: medium;"><span> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAnhBbUP3fQIFlYhfxxpRGmcwgLAiXc9mM_4NAQ1DejBiKHyCe1wV99TevUdFrXtDpINRKwsvtU6GAvf5cWt_jOKTgXuESG6RKES9-HeY5sQ08sZcE3F9eNEw67NMCbHtI5l61tMy_gTnO7mbZ8rr4HDDnbwDGGWlQpRSi8cBNCVi0yW-qxF7E6eMD10/s2321/blue%20french%20front%20cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2321" data-original-width="1520" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAnhBbUP3fQIFlYhfxxpRGmcwgLAiXc9mM_4NAQ1DejBiKHyCe1wV99TevUdFrXtDpINRKwsvtU6GAvf5cWt_jOKTgXuESG6RKES9-HeY5sQ08sZcE3F9eNEw67NMCbHtI5l61tMy_gTnO7mbZ8rr4HDDnbwDGGWlQpRSi8cBNCVi0yW-qxF7E6eMD10/w211-h322/blue%20french%20front%20cover.jpg" width="211" /></a></span></div><span style="font-size: medium;">Peter Phillips’s debut novel, <i>The Blue French</i>, is now<span> </span><span> </span>available</span><span style="font-size: medium;"><span style="font-size: medium;"><span> <a href="https://www.webscribe.co.uk/products/musicaltimes">here</a> and via <a href="https://www.amazon.co.uk/Blue-French-Peter-Phillips/dp/0954577736/ref=sr_1_1?crid=JB2W0ZCFPJS0&keywords=the+blue+french+peter+phillips&qid=1699374408&sprefix=phillips+blue+french%2Caps%2C209&sr=8-1" target="_blank">amazon</a>.</span></span> </span><p></p><p><span>Have you ever wanted to take part in a performance of Tallis's
colossal <i>Spem in alium</i>? Or experience Allegri's sublime <i>Miserere</i> 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.</span></p><p><span><span style="font-size: medium;">The author, Peter Phillips, is Director of The Tallis Scholars, which this year celebrates its 50th anniversary. </span></span></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-18669489892628919772023-09-09T10:14:00.000+01:002023-09-09T10:14:40.360+01:00From the Autumn 2023 Musical Times, available now<p><b><b></b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhagMVpohZ_9m1SLOD-mFAUhNxE9hQiAnjDL0RrkniFdlFKtc6kMpSfBkk3TbLYJbFy8OHyX20JQvt5zDvOpaWRPNQNBalBwM8F800El27kubYA3b-xOrA2Zt1ne2mMF2cgaGH687CM9BLLByhzKIclalbfpLADbZV3CCmh-t2l-cAZ362J2V1nYzm-2Is/s2895/mt%20cover%20autumn%202023.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2895" data-original-width="2247" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhagMVpohZ_9m1SLOD-mFAUhNxE9hQiAnjDL0RrkniFdlFKtc6kMpSfBkk3TbLYJbFy8OHyX20JQvt5zDvOpaWRPNQNBalBwM8F800El27kubYA3b-xOrA2Zt1ne2mMF2cgaGH687CM9BLLByhzKIclalbfpLADbZV3CCmh-t2l-cAZ362J2V1nYzm-2Is/w155-h200/mt%20cover%20autumn%202023.jpg" width="155" /></a></b></b></div><b><b>Articles</b></b> <p></p><p>Peter Phillips: ‘Fifty
years on’<br />Brian Newbould: ‘Double
passing notes and the “sesta sfiorata” ’<br />Allan W. Atlas:
‘Madelon Coates’s guide to London: Vaughan Williams’s A London
Symphony in the United States, 1920–1925 </p><p><b>Reviews</b> <br /></p><div style="text-align: left;"><i>by</i> Andrew Thomson, David Wright, Arnold
Whittall and Richard Langham Smith
<style type="text/css">P { margin-bottom: 0.21cm }</style> <i>of</i> </div>
<p>Eric Saylor: <i>Vaughan
Williams</i><br />Nigel Simeone: <i>Ralph
Vaughan Williams and Adrian Boult</i><br />Caroline Davison: <i>The
Captain’s Apprentice: Ralph Vaughan Williams and the story of a
folk song</i><br />Robert O. Gjerdingen:
<i>Child composers in the old conservatories: how orphans became elite
musicians</i><br />Karen Arrandale: <i>Edward
J. Dent: a life of words and music</i><br />Tom Perchard, Stephen
Graham, Tim Rutherford-Johnson & Holly Rogers: <i>Twentieth century
music in the West: an introduction</i><span lang="en-GB"><br />Denis
Herlin: </span><i>Claude Debussy: Portraits et Études</i>
<style type="text/css">P { margin-bottom: 0.21cm }</style></p><p><style type="text/css">P { margin-bottom: 0.21cm }</style></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-52893386273338600082023-06-19T09:50:00.000+01:002023-06-19T09:50:11.893+01:00From the Summer 2023 Musical Times, available now<p><b><b></b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNUcBOJNPjkoFOjEI4vr3DDS_aJxflWidxc8d90y2rwIXrUP7itPmTkWRh0wK_7st5igURP1ZYVWFNNgApHHYMszYDV-ZihYkJ-pFc2O-kPJrZhawWcvEAoG3IQw9vMAqr9W6iwE-sQDp6xZGNjwxGWlEEIw7PwaDaMPu7gorbqd6M1tRQYysAVeu/s2891/mt%20cover%20summer%202023.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2891" data-original-width="2232" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNUcBOJNPjkoFOjEI4vr3DDS_aJxflWidxc8d90y2rwIXrUP7itPmTkWRh0wK_7st5igURP1ZYVWFNNgApHHYMszYDV-ZihYkJ-pFc2O-kPJrZhawWcvEAoG3IQw9vMAqr9W6iwE-sQDp6xZGNjwxGWlEEIw7PwaDaMPu7gorbqd6M1tRQYysAVeu/w154-h200/mt%20cover%20summer%202023.jpg" width="154" /></a></b></b></div><b><b>Articles</b></b> <p></p><div style="text-align: left;">Arnold Whittall: ‘James Wood at 70: a composer and a treatise’</div><div style="text-align: left;">Stephen Arthur Allen: ‘Bliss in brass: Sir Arthur’s two brass band masterpieces recontextualised’</div><div style="text-align: left;">Justin Vickers: ‘Britten, Pears, and Pushkin: a history of <i>The poet’s echo</i> in translation’</div><div style="text-align: left;">H. Diack Johnstone: ‘Thomas Bever: an 18th-century jurist and his collection of old music’</div><div style="text-align: left;">Lionel Pike: ‘Ward’s pre-Gostling basses’<br /></div><p><b>Review</b> <br /></p><div style="text-align: left;"><i>by</i> Andrew Thomson <i>of</i> </div><div style="text-align: left;">Vicki P. Stroeher & Justin Vickers, edd.: <i>Benjamin Britten in context</i><br /></div>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-75615809651565250822023-03-14T11:12:00.001+00:002023-05-26T10:10:17.927+01:00From the Spring 2023 Musical Times, available now<p><b><b>Articles</b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeafpGKvCD3bd91f6IlYSj0oRa_djmX6bn5m30qE0u2rRHn7GHWqwpYlpVFqbeXTy2s3bNOpWOamVQsFocaGj5M-h_rwipvCnlAYCbSlV54Zq284ixnE7qF2Y_zgYcbEuiL6pxNfFK7Geb8ZEnMDdqK0OPVqlPjUBJqQWppu22-QRsnmyN-85nGf7p/s2905/mt%20cover%20spring%202023.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2905" data-original-width="2197" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeafpGKvCD3bd91f6IlYSj0oRa_djmX6bn5m30qE0u2rRHn7GHWqwpYlpVFqbeXTy2s3bNOpWOamVQsFocaGj5M-h_rwipvCnlAYCbSlV54Zq284ixnE7qF2Y_zgYcbEuiL6pxNfFK7Geb8ZEnMDdqK0OPVqlPjUBJqQWppu22-QRsnmyN-85nGf7p/w151-h200/mt%20cover%20spring%202023.jpg" width="151" /></a></b></b></div><b><b></b></b><p></p><b><b></b></b><p>Michael Talbot: ‘Philip Peter Eiffert: a German oboist and composer in 18th-century London’<br />Brian Newbould: ‘Mozart makes ends meet’<br />Barbara Barry: ‘Perspectives on Schubert’s “Wanderer” Fantasy: conceptual models and compositional strategy “quasi una fantaisa” ’<br />Arnold Whittall: ‘Siegfried as master smith: Wagner’s ironic hymn to stability’<br />James Porter: ‘Lied composition and ethical action: settings of Goethe’s “Wonne der Wehmuth” by Alfred Julius Becher and Adolf Busch’<br /><br /><b>Reviews</b> </p><i>by</i> Andrew Thomson <i>and</i> Arnold Whittall <i>of</i><br /><br />Rebecca Mitchell: <i>Sergei Rachmaninoff</i><br />Richard Kramer: <i>From the ruins of Enlightenment: Beethoven and Schubert in their solitude</i><br />The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-78241105382179767382022-12-09T09:48:00.000+00:002022-12-09T09:48:30.104+00:00From the Winter 2022 Musical Times, available now<p> </p><p><b><b>Articles</b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZCoIQPZmuNN2tcizNyeeEcI8mwRnm-P9O_RwX0ZBPugrqxjPxDx7WkGPYJVTKso1E7X7XWHOVAKNz3gS3CcjfG9EvujjkAnHVcF32xZ3GOY7vwOb4fTLvbfoCnSvn8jxZ0VIW6NM28sb303T260bRS15j_zWRvC9Zkr7JVaWdBMEFDfDQOaccWOw/s5424/mt%20cover%20winter%202022.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5424" data-original-width="5157" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZCoIQPZmuNN2tcizNyeeEcI8mwRnm-P9O_RwX0ZBPugrqxjPxDx7WkGPYJVTKso1E7X7XWHOVAKNz3gS3CcjfG9EvujjkAnHVcF32xZ3GOY7vwOb4fTLvbfoCnSvn8jxZ0VIW6NM28sb303T260bRS15j_zWRvC9Zkr7JVaWdBMEFDfDQOaccWOw/w190-h200/mt%20cover%20winter%202022.jpg" width="190" /></a></b></b></div><b><b><br /></b></b><p></p><p>Arnold Whittall: ‘Birtwistle’s Orphic rites’<br />Jane Alden: ‘Keeping score with the Scratch Orchestra’<br />Lionel Pike: ‘Howells and Christ Church’<br />H. Diack Johnstone: ‘The name is Bond, Henry Bond: a small collection of 17th-century French music in the Royal Music Library’<br />Robin Maconie: ‘Eimert’s complaint: on the origins of electronic music’<br />Mary Cyr: ‘Gulliver in France: voyage to the Island of Folly’<br />Brian Newbould: ‘Choral as texture in symphonic music 2’<br />Eric L. Altschuler & Edward D. Latham: ‘Another two modally inflected miniature masterpieces by Brahms’<br /><br /><b>Reviews</b> </p><i>by</i> Arnold Whittall <i>and</i> Richard Langham Smith <i>of</i><br /><br />Stephen Walsh: <i>The beloved vision: music in the romantic age</i><br />Carlo Caballero & Stephen Rumph, edd.: <i>Fauré studies<br /></i>Charles Ellis: <i>Wagner’s </i>Ring:<i> a fresh look at the dramatic and musical structure</i><br />The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-41045322453716547242022-09-14T12:52:00.001+01:002022-09-14T12:53:02.684+01:00From the Autumn 2022 Musical Times, available now<p><b><b>Articles</b></b><b><b></b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfKWPgjX6ILFrfh272mIYv0wus7ImxiF3yRXrB4BZvQTwaMxUfsosDjmC8v6Eau_CR91_zX25n4SSdUNwvV2mxjgY2dTbUpFyYeI8c6o_irntpsm4er89Pafl389L20GH-PPdyz4ErUV15LGn1ScU7b_7Cw8YXrO2rEpz-2GIiz5H88z0xfG_DZQf/s5424/mt%20cover%20autumn%202022.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5424" data-original-width="4725" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVfKWPgjX6ILFrfh272mIYv0wus7ImxiF3yRXrB4BZvQTwaMxUfsosDjmC8v6Eau_CR91_zX25n4SSdUNwvV2mxjgY2dTbUpFyYeI8c6o_irntpsm4er89Pafl389L20GH-PPdyz4ErUV15LGn1ScU7b_7Cw8YXrO2rEpz-2GIiz5H88z0xfG_DZQf/w174-h200/mt%20cover%20autumn%202022.jpg" width="174" /></a></b></b></div><b><b></b></b><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgATzbFj10LPDZvl5XTzksHt7zCSZ3S85dUPg8VuP0gBoKvCjR8SWJ2JnXTtI3IyOXMOjTrQc6Amh5tBkoto2pru4JiUruxZIY-5hbpF8rq9guTyuKBjtS1tEE-Gjh6N0dLNfoWKVo0SlnrjHG4-DVO68mgoZ6jg3w1qqRK7yahLpl11exwjVYkelZa/s5424/mt%20cover%20autumn%202022.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></b></b><p></p><p></p><p>Brian Newbould: ‘Choral as texture in symphonic music 1: Mozart, Schubert, Mendelssohn, Schumann’<br />Barbara Barry: ‘Mind games: the structure of energy and the character of structure in Beethoven’s “Archduke” Trio’<br />Arnold Whittall: ‘A sense of space: recent chamber works by Christian Mason’<br />Benjamin Dwyer: ‘Teleology or transcendence? Perspectives on Liget’s collusion with automatism’<br />Veronica Franke: ‘Thematic transformation, indigeneous song and form in Hendrik Hofmeyr’s <i>Partita Africana</i>’<br /><br /><b>Reviews</b> </p><p><i>by</i> David Wright, Andrew Thomson, Richard Langham Smith <i>and</i> Arnold Whittall <i>of</i><br /><br />Kate Guthrie: <i>The art of appreciation: music and middlebrow culture in modern Britain</i><br />Jeremy Dibble: <i>The music of Frederick Delius: style, form and ethos<br /></i>Philippe Blay: <i>Reynaldo Hahn<br /></i>Matthew Aucoin: <i>The impossible art: adventures in opera</i><br /></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-78475203130063838362022-06-15T13:43:00.001+01:002022-06-15T13:43:42.551+01:00From the Summer 2022 Musical Times, available now<p><b><b>Articles</b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizjidDdxZBaMCcbhI5__1bEQ9YwukQPOdl9V2ijMBpK_VDdvRRU9CgjxRwkDqqOlGMougdHdb65hgCVZi6kWc4R4pfLeOfdfLaHRNafklr5n0xy7bJge01UUFOQ8kaMEyYCcosTqcZIEN6mR0eQ0rbHhFW5XNJH9KCNKh0-Tlm5AQq5ifuEu4i7cM/s5446/mt%20cover%20summer%202022.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5446" data-original-width="4676" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizjidDdxZBaMCcbhI5__1bEQ9YwukQPOdl9V2ijMBpK_VDdvRRU9CgjxRwkDqqOlGMougdHdb65hgCVZi6kWc4R4pfLeOfdfLaHRNafklr5n0xy7bJge01UUFOQ8kaMEyYCcosTqcZIEN6mR0eQ0rbHhFW5XNJH9KCNKh0-Tlm5AQq5ifuEu4i7cM/w172-h200/mt%20cover%20summer%202022.jpg" width="172" /></a></b></b></div><p></p><p>John Bergsagel: ‘Gade in England’<br />Arnold Whittall: ‘Sam Hayden’s material mysteries’<br />Lionel Pike: ‘Thoughts on reconstructing Ward’s verse anthems’<br />Stephen Allen: ‘Love requiem 3: <i>Resurgam</i> and beyond’<br />Peter Van der Merwe: ‘The Handelian fourth’<br /><br /><b>Reviews</b> </p><p><i>by</i> Judith Chernaik <i>and</i> Arnold Whittall <i>of</i><br /><br />Steven Isserlis: <i>The Bach cello suites: a companion</i><br />Benjamin Shute: <i>Sei solo: Symbolum? The theology of J.S. Bach’s solo violin works<br /></i>Richard Stokes: <i>The complete songs of Hugo Wolf: life, letters, Lieder<br /></i>Daniel Chua & Alexander Rehding: <i>Alien listening: Voyager’s Golden Record and music from the earth<br /></i>Sunny Knable, ed.: <i>Looking within: the music of John Palmer: dialogues and essays</i><br /></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-13501877805549093582022-03-17T09:27:00.000+00:002022-03-17T09:27:03.816+00:00From the Spring 2022 Musical Times, available now<p><b><b>Articles</b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/a/AVvXsEghzh0jP5htWHQbB8awEAqZ57xXkqTjIAVoK2I_SfRXTyb4a65K1oBTLb4Mc5qwRzWXRHrRmr5PlOpFZikKpgaeFm_vHvEV4lg7k2NaodI8U31RsTScho9ea_D-L_VucWuWEHsdGxZMZ1ruIliyO2Cky6k_-DezcKYpXiIW51E5t6Cl3lspUETwzAYt=s5446" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5446" data-original-width="4751" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEghzh0jP5htWHQbB8awEAqZ57xXkqTjIAVoK2I_SfRXTyb4a65K1oBTLb4Mc5qwRzWXRHrRmr5PlOpFZikKpgaeFm_vHvEV4lg7k2NaodI8U31RsTScho9ea_D-L_VucWuWEHsdGxZMZ1ruIliyO2Cky6k_-DezcKYpXiIW51E5t6Cl3lspUETwzAYt=w174-h200" width="174" /></a></b></b></div><p></p><p>Brian Newbould: ‘Schubert’s Mozart year’<br />Lionel Pike: ‘Content versus colour: Sibelius’s revision of <i>The Oceanides</i>’<br />Robin Maconie: ‘On riding a bicycle’<br />Michael Talbot: ‘The trio sonatas of Jean-François Dandrieu (1681/82–1738)’<br />Laurence Libin: ‘A note on Pauline Douglas Townsend’<br />Donald Burrows: ‘Oboe parts for <i>Messiah</i> and Handel’s performances’<br />Simon D.I. Fleming: ‘Publishing music by subscription in India: 1789 to 1811’<br />Jos van der Zanden: ‘Beethoven’s <i>Für Elise</i> and its literary background’<br /><br /><b>Reviews</b> </p><i>by</i> Andrew Thomson <i>and</i> Arnold Whittall <i>of</i><br /><br />Edward Campbell & Peter O’Hagan, edd.: <i>The Cambridge Stravinsky encyclopedia</i><br />Alexander H. Shapiro: <i>The consolations of history: themes of progress and potential in Richard Wagner’s Götterdämmerung<br /><br /></i>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-53838064568372200392021-12-13T18:17:00.000+00:002021-12-13T18:17:30.303+00:00From the Winter 2021 Musical Times, available now<p><b><b></b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB49Ld0lrOrCv8qOVBTgubz2f-4hKdcQX45tfwRi3Kg43EiFFdYHPTzDjqWZr_Mn3JAJXbVymZpRlxS8Qr66CrsQmq-zDkCtvWbXpgC4-Rcnts6KmISIoU3nejTw2AeqSg1i4fC3MLUGY/s2048/mt+cover+winter+2021.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1787" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB49Ld0lrOrCv8qOVBTgubz2f-4hKdcQX45tfwRi3Kg43EiFFdYHPTzDjqWZr_Mn3JAJXbVymZpRlxS8Qr66CrsQmq-zDkCtvWbXpgC4-Rcnts6KmISIoU3nejTw2AeqSg1i4fC3MLUGY/w174-h200/mt+cover+winter+2021.jpg" width="174" /></a></b></b></div><b><b>Articles</b></b><p></p><p>John Harley: ‘John Sheppard’s Westminster family’<br />Arnold Whittall: ‘Mass movements: James Clarke and the string quartet in 2020’<br />Brian Newbould: ‘Schubert and <br />Bach 2’<br />Allan W. Atlas: ‘Vaughan Williams <br />in <i>Modern Music</i>’<br />Stephen Arthur Allen: ‘Love requiem 2: raising <i>Resurgam</i>’<br /><br /><b>Reviews</b> </p><p><i>by</i> Julian Rushton, Richard Langham Smith, Andrew Thomson, Arnold Whittall <i>and</i> David Wright <i>of</i><br /><br />Georges Bizet: <i>Djamileh<br /></i>Hugh Macdonald: <i>Bizet in Italy: letters and journals, 1857–1860<br /></i>Richard Langham Smith: <i>Bizet’s Carmen uncovered<br /></i>Étienne Jardin, ed: <i>Mel Bonis (1858–1937): parcours d’une compositrice de la Belle Époque<br /></i>Denis Herlin & Cécile Quesney, edd.: <i>André Caplet: compositeur et chef d’orchestre<br /></i>Graham Griffiths, ed.: <i>Stravinsky in context<br /></i>Chris Walton: <i>Richard Wagner’s essays on conducting: a new translation with critical commentary<br /></i>John Ling: <i>Debating English music in the long nineteenth century<br /></i>Daniel M. Grimley: <i>Jean Sibelius: life, music, silence<br /></i>Nicolò Palazzetti: <i>Béla Bartók in Italy: the politics of myth-making<br /></i>Bryan Simms & Charlotte Erwin: <i>Berg<br /></i>Theodor W. Adorno: <i>The new music: Kranichstein lectures<br /></i>Neil Thomas Smith: <i>Mathias Spahlinger<br /></i>Tony Scotland: <i>Wulff: Britten’s Young Apollo<br /></i>Steuart Bedford: <i>Knowing Britten<br /></i>Diana McVeagh: <i>Gerald Finzi’s letters 1915–1956</i></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-64137934181485651212021-09-11T08:33:00.001+01:002021-09-11T08:33:39.154+01:00From the Autumn 2021 Musical Times, available now<p><b><b></b></b></p><div class="separator" style="clear: both; text-align: center;"><b><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn4DFccyXpluCNoDjC85IParVhwrD70jZs1cb7wf8e7x72frYQKEX7cZPZ2TUMhCGVheMdqS4NdocVzsgj0mGssLpW6dLmThEySq8Pl6XMAMczVl41AaTungfAzRDjjiLEO3RDDF9Qhmg/s2048/mt+cover+autumn+2021.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1576" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn4DFccyXpluCNoDjC85IParVhwrD70jZs1cb7wf8e7x72frYQKEX7cZPZ2TUMhCGVheMdqS4NdocVzsgj0mGssLpW6dLmThEySq8Pl6XMAMczVl41AaTungfAzRDjjiLEO3RDDF9Qhmg/w154-h200/mt+cover+autumn+2021.jpg" width="154" /></a></b></b></div><b><b>Articles</b></b><p></p><p></p><p>Mary Cyr: ‘The “air of mystery” in François Couperin’s <i>Pièces de violes</i> (1728)’<br />Beverly Jerold: ‘The 19th-century piano and finger-strengthening devices’<br />Brian Newbould: ‘Schubert and Bach 1’<br />Andrew Thomson: ‘Proto-modernist visions of tragedy and damnation: Berlioz & Shakespeare, Liszt & Dante’<br />James Porter: ‘Schoenberg’s six Oscars: musical encounters with a fateful name’<br />Stephen Arthur Allen: ‘Love requiem 1: Eric Ball in Context’<br /><br /><b>Reviews</b> </p><p><i>by</i> Arnold Whittall <i>and</i> Andrew Thomson <i>of</i><br /><br />Brian Ferneyhough: <i>Complete piano music 1965–2018</i><br />Sam Hayden: <i>Becomings: works for solo piano</i> <br />Kate Kennedy: <i>Dweller in shadows: a life of Ivor Gurney</i><br />Beverly Jerold: <i>Disinformation in mass media: Gluck, Piccinni, and the Journal de Paris</i></p><p><b>In memoriam</b></p><p>Louis Andriessen <br /></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-19891499979515878622021-06-08T16:58:00.000+01:002021-06-08T16:58:13.670+01:00From the Summer 2021 Musical Times, available now<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRTV6VkvFXJ8T6qsHxK4e_nLq6kMZUzFM05GXNWp1SOzQSn4sifaXkBDGGz4fGu8m-t_ou-OJ4qzbkLZnQ-0G0IfZxf8Rec8AmaHnuSBhPn_8FS2uqIVQojCiGL4EqW-BQMzBUrJQ4cyI/s2048/mt+cover+summer+2021.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1758" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRTV6VkvFXJ8T6qsHxK4e_nLq6kMZUzFM05GXNWp1SOzQSn4sifaXkBDGGz4fGu8m-t_ou-OJ4qzbkLZnQ-0G0IfZxf8Rec8AmaHnuSBhPn_8FS2uqIVQojCiGL4EqW-BQMzBUrJQ4cyI/w172-h200/mt+cover+summer+2021.jpg" width="172" /></a></b></div><b>Articles</b><p></p><b></b><p></p><p>Julian Rushton: ‘Variations op.36 (‘Enigma’): thoughts in season’ <br /><br />Katalin Komlós: ‘Tolstoy’s encounter with the harpsichord: the visits of Wanda Landowska to Yasnaya Polyana’<br /><br />H. Diack Johnstone: ‘John Blathwayt: a musical British teenager on the Grand Tour’<br /><br />Simon D.I. Fleming: ‘Dances and national airs in domestic music manuscripts: two new sources from the 1820s’<br /><br />Brian Newbould: ‘Schubert, Brahms and the sarabande’<br /><br />Arnold Whittall: ‘ “The best response”? Stravinsky and modernist aesthetics’<br /><br />Bojan Bujic: ‘An Alban Berg manuscript at Oxford: a postscript after 75 years’<br /><br />Robin Maconie: ‘Boulez: “...éventuellement...” ’</p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-26556612693039570212021-03-09T16:18:00.001+00:002021-03-09T16:18:36.690+00:00From the Spring 2021 Musical Times, available now<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTcRbET-ZP_vfpWLDIx0ezbn-jZnTDPllV95i-epaZ0Ng0BESnT4jFaqqw74Xa8eZZCWV1z4ULzHT2GLz3zrOaRc0qYTMy1oAk3PkHe4vqFA-DkaibiHsymFo3hmFJY8qyaJ0Cmb9RHoE/s2048/mt+cover+spring+2021.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1583" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTcRbET-ZP_vfpWLDIx0ezbn-jZnTDPllV95i-epaZ0Ng0BESnT4jFaqqw74Xa8eZZCWV1z4ULzHT2GLz3zrOaRc0qYTMy1oAk3PkHe4vqFA-DkaibiHsymFo3hmFJY8qyaJ0Cmb9RHoE/w154-h200/mt+cover+spring+2021.jpg" width="154" /></a></b></div><b><br />Articles</b><p></p><b></b><p></p><p>Ivan Moody: ‘Music as theology’<br />Ronald Broude: ‘The interpretive edition: its history and future’<br />Francis Knights: ‘Revisiting the keyboard music of Giles Farnaby’<br />Michael Talbot: ‘The chamber cantatas of Diogenio Bigaglia (1678–1745): Venice’s overlooked dilettante’<br />Brian Newbould: ‘Rhythm in classical music’<br />Hugh Macdonald: ‘Early Beethoven’<br />John Arthur: ‘On the chronology of Mozart’s <i>Lo sposo deluso</i>’<br /><br /><b>Reviews</b></p><p>by Arnold Whittall <i>and</i> Andrew Thomson <i>of</i> <br /></p><p>Martin Iddon & Philip Thomas: <i>John Cage’s Concert for piano and orchestra</i><br />David Tudor: <i>Solo for piano by John Cage</i><br />Christina Guillaumier: <i>The operas of Sergei Prokofiev</i><br />Lee Rothfarb & Christopher Landerer, edd.: <i>Edward Hanslick’s On the Musically Beautiful: a new translation</i><br />Robert W. Wason & Matthew Brown: <i>Heinrich Schenker’s conception of harmony</i><br />Margaret Notley: <i>‘Taken by the devil’: the censorship of Frank Wedekind & Alban Berg’s Lulu</i><br />Julian Anderson & Christopher Dingle: <i>Julian Anderson: dialogues on culture, composing and listening</i></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-40859251912112655032020-12-14T10:35:00.002+00:002020-12-14T10:35:54.274+00:00From the Winter 2020 Musical Times, available now<p> </p><div class="Booksreceived">
<span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Articles<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvpKHlmWxMxKUq0sY2JqsRGaVdx03nK1bZ1z7l6S70215qjHHTaC1djadD97XssxxrhtQw2sLJSmFvqdUMf-Zf05c03ervkAd3GZ27Ysa8WBEBXJm9hXS0laaqUiJdnwL63rhs-HyniAo/s2048/mt+cover+winter+2020.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1579" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvpKHlmWxMxKUq0sY2JqsRGaVdx03nK1bZ1z7l6S70215qjHHTaC1djadD97XssxxrhtQw2sLJSmFvqdUMf-Zf05c03ervkAd3GZ27Ysa8WBEBXJm9hXS0laaqUiJdnwL63rhs-HyniAo/w154-h200/mt+cover+winter+2020.jpg" width="154" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3RbntKArtsLY2TutwluRMm7naQrvU4u89le_cG8H-MGk1yVlprNq-0WIdJr_DXQXkDZWONVoyqUwNqZnvCMSfMiMxpNngaJqK-JTeYlgA-qIIhbpdYauipFGT0n4pBsDMzup-odDF4s/s2048/mt+cover+autumn+2020.jpg" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></div><br /></span></span></b></span></span><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Hugh Macdonald: ‘From the <i>Wiener Wochenblatt</i>, 16 October 1802: “Ludwig van Beethoven”’</span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"> </span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Klaus Martin Kopitz: ‘Beethoven’s “Elise” Elisabeth Röckel: a forgotten love story and a famous piano piece’</span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"> </span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Jos van der Zanden: ‘Republican Beethoven: fact and fiction’</span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"> </span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Barbara Barry: ‘Mind the gap: pitch connectors and sectional disjunction in Schubert’s late instrumental music’</span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"> </span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Rodney Stenning Edgecombe: ‘Music and the word: some thoughts on the ingested “melodrama” of Brahms’s First Symphony’</span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"> </span></span><span lang="" style="font-family: "cambria"; font-size: small;"> </span></span></span></span></span></b></span></span><br /></div><p>
<b><span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Reviews</span></span></span></span></span></span></span></span></span></b></p><p><span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><i>by</i> Andrew Thomson and Arnold Whittall <i>of</i></span></span></span></span></span></span></b></span></span> </span></span><br />
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<span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Roger Nichols: <i>Francis Poulenc: a biography</i><br />Graham Johnson: <i>Poulenc: the life in the songs</i><br />François Lesure: <i>Claude Debussy: a critical biography</i><br />Julian Johnson: <i>After Debussy: music, language, and the margins of philosophy</i><br />Jean-Louis Leleu: <i>Ces mystérieux accords parfaits’: trois études sur la musique d’Arnold Schönberg</i></span></span></span></span></span></span></b></span></span></span></span></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-21377848832835449562020-09-10T15:24:00.000+01:002020-09-10T15:24:05.658+01:00From the Autumn 2020 Musical Times, available now<div class="Booksreceived">
<span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Articles<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3RbntKArtsLY2TutwluRMm7naQrvU4u89le_cG8H-MGk1yVlprNq-0WIdJr_DXQXkDZWONVoyqUwNqZnvCMSfMiMxpNngaJqK-JTeYlgA-qIIhbpdYauipFGT0n4pBsDMzup-odDF4s/s2048/mt+cover+autumn+2020.jpg" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1568" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-3RbntKArtsLY2TutwluRMm7naQrvU4u89le_cG8H-MGk1yVlprNq-0WIdJr_DXQXkDZWONVoyqUwNqZnvCMSfMiMxpNngaJqK-JTeYlgA-qIIhbpdYauipFGT0n4pBsDMzup-odDF4s/w157-h205/mt+cover+autumn+2020.jpg" width="157" /></a></div><br /></span></span></b></span></span><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Peter Phillips: ‘Palestrina’s protean progress’<br />Lorna J. Clark: ‘Charles Burney at Oxford: the music collection at Christ Church’<br />Beverly Jerold: ‘A 1760 dream for better performance standards’<br />Eric L. Altschuler & Edward D. Latham: ‘Mixolydian tendencies in a “canzonetta” by Brahms’</span></span><span lang="" style="font-family: "cambria"; font-size: small;"> </span></span></span></span></span></b></span></span></div><p>
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<b><span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Reviews</span></span></span></span></span></span></span></span></span></b></p><p><span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><i>by</i> Arnold Whittall <i>of</i></span></span></span></span></span></span></b></span></span> </span></span><br />
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<span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Roger Scruton: Wagner’s <i>Parsifal</i><br />Bojan Bujic: <i>Arnold Schoenberg and Egon Wellesz: a fraught relationship</i></span></span></span></span></span></span></b></span></span></span></span><br />
<span face=""><span style="font-size: small;"><span face=""><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span face=""><span class="Normalsmallcaps" style="font-size: small;"><span lang="" style="font-family: "cambria"; font-size: 12pt;">Nicholas Jones and Richard McGregor: <i>The music of Peter Maxwell Davies</i></span></span></span></span></span></span></b></span></span></span></span></p>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-71668980587254261642020-06-04T11:26:00.001+01:002020-06-04T11:26:24.654+01:00From the Summer 2020 Musical Times, available now<div class="Booksreceived">
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Articles</span></span></b></span></span><br />
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<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"></span></span></b></span></span><br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTpjgal09TRqTscj1RZL0qud_9ZqJEOkGPZI7lQhIozFPo4QJnB9zP4u9t_F5MEqnyIXgQf9ipkM7Trh06WpROVaLiKZ_6fu7DhkxgtniQKB7kk2MTmfWdPm4XDzrFEJNOOEeaGqdOaqw/s1600/mt+cover+summer+2020.jpg" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1231" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTpjgal09TRqTscj1RZL0qud_9ZqJEOkGPZI7lQhIozFPo4QJnB9zP4u9t_F5MEqnyIXgQf9ipkM7Trh06WpROVaLiKZ_6fu7DhkxgtniQKB7kk2MTmfWdPm4XDzrFEJNOOEeaGqdOaqw/s200/mt+cover+summer+2020.jpg" width="153" /></a><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"></span></span></span></span></span></span></b></span></span><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Peter Van der Merwe: ‘Three songs of farewell: Monk’s “Eventide”, Beethoven’s “Lebewohl” Sonata and Mahler’s Ninth Symphony’</span></span></span></span></span></span></b></span></span></span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Robin Maconie: ‘Riddler and cat-woman’</span></span></span></span></span></span></b></span></span></span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"></span></span></span></span></span></span></b></span></span>Alan Thurlow: ‘John Sheppard’s Lord’s Prayer’<br /></span></span></span></span></span></span></b></span></span><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Stephen
Arthur Allen: ‘Redeeming “RVW”: Vaughan Williams’s Variations for brass
band, Ninth Symphony (others not excluded) and the summation of a
theme’</span></span></span></span></span></span></b></span></span></span></span></span></span></span></span></b></span></span></div><div class="Booksreceived"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"></span></span></span></span></span></span></b></span></span>Arnold Whittall: ‘Centre, periphery: the complementary worlds of Harrison Birtwistle and Frank Denyer’</span></span><span lang="EN-US" style="font-family: "cambria"; font-size: small;"> </span></span></span></span></span></b></span></span></div>
<br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span lang="EN-US" style="font-family: "cambria"; font-size: small;"><b>Reviews</b><i> </i></span></span><br />
<br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><i>by</i> David Wright, Arnold Whittall and Patricia Howard <i>of</i></span></span></span></span></span></span></b></span></span> </span></span><br />
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<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Stephen Lloyd, Diana Sparkes & Brian Sparkes, edd: <i>Music in their time : the memoirs and letters of Dora and Hubert Foss</i></span></span></span></span></span></span></b></span></span></span></span><br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Jean-Jacques Nattiez: <i>Fidélité et infidélité dans les mises en scène d’opéra</i></span></span></span></span></span></span></b></span></span></span></span><br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Paloma Ortiz-de-Urbina, ed.: <i>Arnold Schönberg und Roberto Gerhard: Briefwechsel</i></span></span></span></span></span></span></b></span></span></span></span><br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Carolyn Philpot: <i>Composing Australia: nostalgia and national identity in the music of Malcolm Williamson</i></span></span></span></span></span></span></b></span></span></span></span><br />
<span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><span style="font-family: "arial", "helvetica", sans-serif;"><span style="font-size: small;"><b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;"><span style="font-weight: normal;"><span style="font-family: "arial", "helvetica", sans-serif;"><span class="Normalsmallcaps" style="font-size: small;"><span lang="EN-US" style="font-family: "cambria"; font-size: 12pt;">Emanuele Senici: <i>Music and the present tense: Rossini’s Italian operas in their time</i></span></span></span></span></span></span></b></span></span></span></span>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-5449304333379154332020-03-16T14:15:00.000+00:002020-03-16T14:15:30.913+00:00From the Spring 2020 Musical Times, available now<br />
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<b><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Articles</span></span></b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2RGx-3_S4OZP45HNrTWlxTepE2h4YMQd7yvvqUetgs3Sv5Jj-trHp22H04THVFrJ67DS_uNRra25XaGQPmL94mjwGcNAzDAyzSGkUkuClgUlQdxiqoVDfupI7qd7NjJjlKmkX80o6As/s1600/mt+cover+spring+2020.jpg" imageanchor="1" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1238" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2RGx-3_S4OZP45HNrTWlxTepE2h4YMQd7yvvqUetgs3Sv5Jj-trHp22H04THVFrJ67DS_uNRra25XaGQPmL94mjwGcNAzDAyzSGkUkuClgUlQdxiqoVDfupI7qd7NjJjlKmkX80o6As/s200/mt+cover+spring+2020.jpg" width="154" /></a></b></div>
<br />
<div class="Booksreceived">
<span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;"> Arnold Whittall: ‘ “This is tomorrow”:
Birtwistle’s Orpheus in another world</span></span><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">’<span style="letter-spacing: 1.1pt;"></span></span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Donald
Burrows: ‘</span><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">In Handel’s shadow: performances of </span></span><span class="Normalsmallcaps"><i><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Messiah</span></i></span><span class="Normalsmallcaps"><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;"> in
Dublin during the 1740s</span></span><span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Allan
W. Atlas: ‘Vaughan Williams, the <i style="mso-bidi-font-style: normal;">Serenade
to music</i> and opening night at Lincoln Center’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Michael
Talbot: ‘Antoine Favre (<i style="mso-bidi-font-style: normal;">c.</i>1670–<i style="mso-bidi-font-style: normal;">c.</i>1739): a good violinist and an even
better composer’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Beverly
Jerold: ‘Distinguishing between dotted notes and <i style="mso-bidi-font-style: normal;">notes inégales</i>’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Eric
L. Altschuler: ‘Cantata aria BWV 151/1 and the proportional theory of tempos
for JS Bach’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">David
Cormack: ‘Wagner’s German “Marseillaise” ’</span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Robin
Maconie: ‘Trios and epitaphs: on Boulez’s <i style="mso-bidi-font-style: normal;">Sur
incises’</i></span></div>
<div class="Booksreceived">
<br /></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;"><b>Reviews</b> </span></div>
<div class="Booksreceived">
<br /></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;"><i>by</i> Andrew Thomson <i>and</i> Arnold Whittall <i>of</i></span></div>
<div class="Booksreceived">
<br /></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">David
CH Wright: </span><i><span style="font-family: "cambria"; font-size: 12.0pt;">The Royal College of Music and
its contexts: an artistic and social history</span></i></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Matthew
Mugmon: <i style="mso-bidi-font-style: normal;">Aaron Copland and the American
legacy of Gustav Mahler</i></span></div>
<div class="Booksreceived">
<span lang="EN-US" style="font-family: "cambria"; font-size: 12.0pt;">Amy
Lynn Wlodarski: <i style="mso-bidi-font-style: normal;">George Rochberg, American
composer: personal trauma and artistic creativity</i></span></div>
<div class="MsoNormal">
<span lang="EN-US">Sumanth Gopinath & Pwyll ap Siôn, edd.:
<i style="mso-bidi-font-style: normal;">Rethinking Reich</i></span></div>
<div class="MsoNormal">
<span lang="EN-US">Hans Keller: <i style="mso-bidi-font-style: normal;">Beethoven’s String Quartet in B flat major, op.130: four lectures</i></span></div>
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{page:WordSection1;}</style>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-90154918782876071502019-12-12T10:00:00.001+00:002020-02-13T10:25:33.946+00:00From the Winter 2019 Musical Times, available now<b>Articles</b><br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8fpSzDof0XsGMVaLDxHu2aroGoIRlosv9U60apbyRFf38n7cWNHhTqwhuQ8U1kz1g9Y4oKZu3FnzmTipbUXizVsj2UDYom4ebVoRcB8lPxp6Tkrydb5G_yycEnnmELSWL7OoeDJqJaw/s1600/mt+cover+winter+2019.jpg" imageanchor="1" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1374" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8fpSzDof0XsGMVaLDxHu2aroGoIRlosv9U60apbyRFf38n7cWNHhTqwhuQ8U1kz1g9Y4oKZu3FnzmTipbUXizVsj2UDYom4ebVoRcB8lPxp6Tkrydb5G_yycEnnmELSWL7OoeDJqJaw/s200/mt+cover+winter+2019.jpg" width="171" /></a></b></div>
<br />
Ronald Broude & Mary Cyr: ‘Keeping the customers satisfied: updating older music in Bourbon France’<br />
Judith Chernaik: ‘Brahms’s Clara themes revisited’<br />
Annika Forkert: ‘Lutyens in Liverpool’<br />
Robin Maconie: ‘Reading Cage’<br />
Brian Newbould: ‘On Mozart 3: when space is music’<br />
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” ’<br />
<br />
<b>Reviews</b> <br />
<br />
<i>by</i> Patricia Howard, Andrew Thomson and Arnold Whittall <i>of</i> <br />
<br />
Michael Allis, ed.: <i>Granville Bantock’s letters to William Wallace and Ernest Newman, 1893–1921</i><br />
Margaret R. Butler: <i>Musical theater in eighteenth-century Parma: entertainment, sovereignty, reform</i><br />
Jeremy Dibble & Julian Horton, edd.: <i>British musical criticism and intellectual thought, 1850–1950</i><br />
Rose Dodd, ed.: <i>Writing to Louis Andriessen: commentaries on life and music</i><br />
Daniel M. Grimley: <i>Delius and the sound of place</i><br />
François de Médicis & Steven Huebner, edd.: <i>Debussy’s resonance</i><br />
Desmond Scott, Lewis Foreman & Leslie De’Ath, edd.: <i>The Cyril Scott companion: unity in diversity</i><br />
Ian Woodfield: <i>Cabals & satires: Mozart’s comic operas in Vienna</i>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-72774948141921041252019-09-10T10:10:00.000+01:002019-09-20T08:13:08.571+01:00From the Autumn 2019 Musical Times, available now<b>Articles</b><br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHncdzMqoY371-6mWQeS7soQSFX6YbqFPxL4Y5-9GsEHNhdtlb823-ETOl82uKvI52-BKyI107J65gx6daRjlk4AcNcMTIJBpsdtnz_WXOEIzBCGc7x-X75IpEAgpoffilQMIWd7MZXU/s1600/mt+cover+autumn+2019.jpg" imageanchor="1" marked="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1389" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHncdzMqoY371-6mWQeS7soQSFX6YbqFPxL4Y5-9GsEHNhdtlb823-ETOl82uKvI52-BKyI107J65gx6daRjlk4AcNcMTIJBpsdtnz_WXOEIzBCGc7x-X75IpEAgpoffilQMIWd7MZXU/s200/mt+cover+autumn+2019.jpg" width="173" /></a></b></div>
<br />
Robin Maconie: ‘Messiaen: confessions’<br />
Benjamin Dwyer: ‘Joycean aesthetics and mythic imagination in the music of Frank Corcoran’<br />
Brian Newbould: ‘On Mozart 2: Mozart and the Prague terraces’<br />
Patricia Howard: ‘Guadagni the composer: a modest addition to his portfolio’<br />
Christopher Mabley: ‘Johann’s Passion 3: further observations on Bach’s self-composing in his spiritual choral and organ music’<br />
John Harley: ‘Who was William Watton?’<br />
Richard Turbet: ‘Mr Bird, Mr Ferdinand and Mr Holborne: new lessons’<br />
Eric L. Altschuler & Edward D. Latham: ‘Weelkes and Rossi: a concert 420 years in the making’ <br />
<br />
<b>Reviews</b> <br />
<br />
<i>by</i> Andrew Thomson, Arnold Whittall and David Wright <i>of</i> <br />
<br />
Pierre Boulez: <i>Music lessons: the Collège de France lectures</i><br />
Oliver Soden: <i>Michael Tippett: the biography</i><br />
Jonathan Impett: <i>Routledge handbook to Luigi Nono and musical thought</i> <br />
Arnold Schoenberg: <i>Schoenberg’s correspondence with American composers</i> <br />
Mark Berry: <i>Arnold Schoenberg</i><br />
Emily Abrams Ansari: <i>The sound of a superpower: musical Americanism and the Cold War</i><br />
Chris Price: <i>The Canterbury Catch Club 1828: music in the frame</i>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-90353354409536452762019-06-07T07:02:00.002+01:002019-06-07T07:02:58.070+01:00From the Summer 2019 Musical Times, available now<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Articles</b></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYp1qut8MOwTTUVrxSHC_lPk6AixCxtwlxxPQPPcQNNDIJkaanGDXvuEPRojX4KMm74XGDtholIyaHQBFWIKvF4k-blPBzz6op8zgBRyGKDn4x9O5RvBxl_M04_jRVCQa7fwkDbMWeg4Y/s1600/mt+cover+summer+2019.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYp1qut8MOwTTUVrxSHC_lPk6AixCxtwlxxPQPPcQNNDIJkaanGDXvuEPRojX4KMm74XGDtholIyaHQBFWIKvF4k-blPBzz6op8zgBRyGKDn4x9O5RvBxl_M04_jRVCQa7fwkDbMWeg4Y/s200/mt+cover+summer+2019.jpg" width="152" /></a></b></span></span></div>
<br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Brian Newbould: ‘On Mozart 1: Mozart and recreative analysis’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Rita Steblin: ‘New evidence for Josephine as the “Immortal Beloved” involving Beethoven and England in 1818’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Chris Walton: ‘Leonore, Isolde, Lulu: the strange afterlife of Beethoven’s “Immortal Beloved” ’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Arnold Whittall: ‘Dreaming the darkness: Britten, Birtwistle and operatic fantasies’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Veronica Franke: ‘Roelof Temmingh’s neo-Palestrinian, a cappella settings of three Latin liturgical texts’ </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Christopher Mabley: ‘Johann’s passion 2:
how Bach composed himsel<span style="letter-spacing: -1.2pt;">f</span> into works before and after his <i>Johannes Passion</i>’</span><span lang="EN-US"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Matthias Range: ‘Mendelssohn’s Wedding March at weddings’</span>
</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Reviews</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>by</i> <span lang="EN-US">Patricia Howard and Arnold Whittall</span>
</span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <i>of</i></span></span><br />
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Ferdinand Hiller: <i>Conversations with Rossini</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Deborah Heckert, ed.: <i>Pleasing and interesting anecdotes: an autobiography of Giacomo Gotifredo Ferrari (1763–1842)</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Giovanni Pacini: <i>My artistic memoirs</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Lisa Jakelski & Nicholas Reyland, edd.: <i>Lutosławski’s worlds</i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;"> </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Kate Kennedy, ed.: <i>Literary Britten: words and music in Benjamin Britten’s vocal works</i></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;"><i><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Béla Bartók: <i>Sonata for two pianos and percussion</i></span></span></span> </i></span></span></span>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-84782682990156325892019-03-08T10:34:00.002+00:002019-03-08T10:34:40.353+00:00From the Spring 2019 Musical Times, available now<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Articles</b></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b></b></span></span><br />
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHB7Aj_8BPjrj8tnbEMgCaa1fz29vIoeHylaWfQKySlrjm1Gy0UERU9s5YvuiqX0WvFqWCO4QHZPPnhFz7r2Ld6VtZ8HX1YGFXNqwCUgbnt4QJOUBhy-4oKTGxMCI64LYveLtIR5Ip7ZI/s1600/mt+cover+spring+2019.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1233" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHB7Aj_8BPjrj8tnbEMgCaa1fz29vIoeHylaWfQKySlrjm1Gy0UERU9s5YvuiqX0WvFqWCO4QHZPPnhFz7r2Ld6VtZ8HX1YGFXNqwCUgbnt4QJOUBhy-4oKTGxMCI64LYveLtIR5Ip7ZI/s200/mt+cover+spring+2019.jpg" width="153" /></a></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Michael
Talbot: ‘George Berg: an original
musical and scientific spirit in
Georgian London’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Simon
Fleming: ‘The Georgian provincial town
waits: a reappraisal’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Michael
Kassler: ‘John Sainsbury and his
<i>Dictionary of musicians</i>: some recent findings’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Joseph
Vella Bondin: ‘The Order o<span style="letter-spacing: -1.8pt;">f</span> St John in Malta: liturgical music in its
magnificent primary temple’</span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Christopher Mabley: ‘Johann’s passion 1:
how Bach composed himsel<span style="letter-spacing: -1.2pt;">f </span> into his <i>Johannes Passion</i>’</span><span lang="EN-US"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Stephen
Arthur Allen: ‘Sepia tints or
ghosts pictured within: late style and Elgar’s <i>The Severn Suite</i>’</span>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Reviews</b></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>by</i> <span lang="EN-US">Arnold Whittall,
Patricia Howard, Andrew Thomson and Chris Walton</span>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">David
Schiff: <i>Carter</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Simon P.
Keefe: <i>Mozart in Vienna: the final decade</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Judith
Chernaik: <i>Schumann: the faces and the masks</i> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Donald
Sanders: <i>Experiencing Schumann: a
listener’s companion</i></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;"> </span></span></span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-style: normal;">Alexander Stefaniak: <i>Schumann’s
virtuosity and </i>Kreisleriana:<i> criticism, composition, and performance in
nineteenth-century Germany</i></span></span></span><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></div>
The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-37798329748392007492018-12-08T13:38:00.001+00:002018-12-08T13:38:41.317+00:00From the Winter 2018 Musical Times, available now<b>Articles</b><br />
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<br />
<br />
Philippa Tudor: ‘Holst, Vaughan Williams and Walt Whitman’<br />
<br />
Laura Hamer: ‘ “Every impulse seems to have died within me except for music”: Gerard Manley Hopkins as composer’<br />
<br />
Rodney Stenning Edgecombe: ‘Manzotti’s <i>Excelsior</i>, the tableau vivant and the cantata scenica of the primo ottocento: an essay on form and influence’<br />
<br />
Barbara Barry: ‘Op.135: Beethoven’s “Haydn” quartet’<br />
<br />
John Arthur: ‘The watermark catalogue of the Neue Mozart-Ausgabe: some addenda and corrigenda<br />
<br />
<b>Reviews</b><br />
<br />
<i>by</i> Andrew Thomson and Arnold Whittall <i>of</i><br />
<br />
Stephen Walsh: <i>Debussy: a painter in sound</i><br />
Klaus Huber: <i>Plowed time: writings and conversations</i><br />
Yves Knockaert: <i>Wolfgang Rihm, a chiffre: the 1980s and beyond</i><br />
Kevin C. Karnes: <i>Arvo Pärt’s </i>Tabula RasaThe Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-44293304263167714752018-09-07T08:27:00.000+01:002018-09-07T08:27:18.973+01:00From the Autumn 2018 Musical Times, available now<b>Articles</b><br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qPLZx1nHUMZ7SHf8z8sCbF4jeuO5vn1ic85Tn3ubq-h4vFZmkUBEiSZAdtZsa5jfwsX54c_23AUEWmhWxjWaojhfrico-Ku5Oenn4Q9Mbhg6vt2h7YkOgeF4L9PfYgHa6ERkWPijqDA/s1600/mt+cover+autumn+2018.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1239" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qPLZx1nHUMZ7SHf8z8sCbF4jeuO5vn1ic85Tn3ubq-h4vFZmkUBEiSZAdtZsa5jfwsX54c_23AUEWmhWxjWaojhfrico-Ku5Oenn4Q9Mbhg6vt2h7YkOgeF4L9PfYgHa6ERkWPijqDA/s200/mt+cover+autumn+2018.jpg" width="154" /></a></b></div>
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<br />
Peter Phillips: ‘Heaven and earth’: a performer’s guide to Josquin’s masses’<br />
Judith Chernaik: ‘Schumann and Clara: a musical intertwining’<br />
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<b>Reviews</b><br />
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<i>by</i> Andrew Thomson and Arnold Whittall <i>of</i><br />
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Erinn E. Knyt: <i>Ferruccio Busoni and his legacy</i><br />
Kimberley A. Francis, ed.: <i>Nadia Boulanger and the Stravinskys: a selected correspondence</i><br />
Annegret Fauser: <i>Aaron Copland’s </i>Appalachian Spring<br />
Simon Desbruslais: <i>The music and music theory of Paul Hindemith</i>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-58459649229924574172018-06-08T09:15:00.004+01:002018-06-08T09:17:33.844+01:00From the Summer 2018 Musical Times, available now<br />
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<b><span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Articles</span></b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4wC0W25gJybIqcxAbPNq2QIDQkoxwd_66iMRbY-EBZ-0kV47MkU61K1mG3vlASjd8dsmeGXKtK__4d68gtpoE2GHjZM3Ysj2kSSoE-Ro06oUs2Vt1jNAi_i1kIDwWa92Wq0kP8aDAdU/s1600/mt+cover+summer+2018.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1234" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq4wC0W25gJybIqcxAbPNq2QIDQkoxwd_66iMRbY-EBZ-0kV47MkU61K1mG3vlASjd8dsmeGXKtK__4d68gtpoE2GHjZM3Ysj2kSSoE-Ro06oUs2Vt1jNAi_i1kIDwWa92Wq0kP8aDAdU/s200/mt+cover+summer+2018.jpg" width="153" /></a></b></div>
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<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Arnold
Whittall<span style="mso-tab-count: 1;"></span>: ‘Recession, reflation:
Skempton, Finnissy<span style="mso-tab-count: 1;"> </span>and musical
modernism’s classical roots’ </span></div>
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<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Fiona
Richards: ‘<span style="mso-tab-count: 1;"></span>Max & Mick: the
partnership of Peter Maxwell Davies and Randolph Stow’ </span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Lionel
Pike: <span style="mso-tab-count: 1;"> </span>‘ “It’s what I wanted to write”:
Howells and Magdalen’</span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Annika
Forkert: <span style="mso-tab-count: 1;"></span>‘ “Always a European”: Edward
Clark’s musical work’</span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Allan W.
Atlas: <span style="mso-tab-count: 1;"> </span>‘Vaughan Williams and the New York
Philharmonic: three glimpses behind the scenes’</span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Simon
Fleming: ‘The land without music: some post-1800 perceptions o<span style="letter-spacing: -1.15pt;">f</span> 18th-century British music’</span></div>
<div class="contentsitemspaceabove" style="margin-top: 0cm;">
<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Louisa
Danielson: ‘The music o<span style="letter-spacing: -1.15pt;">f</span> a new
urban centre: Fort Wayne’s continuing story’</span></div>
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<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal; letter-spacing: 0.45pt;"><b>Reviews</b> </span></div>
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<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal; letter-spacing: 0.45pt;"><i>by</i> </span><span lang="EN-US" style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Benjamin Dwyer and Patricia Howard
<i>of</i></span><span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal; letter-spacing: 0.45pt;"></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Mark Fitzgerald:</span><span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;"><span style="mso-tab-count: 1;"> </span></span><i><span style="font-family: "calibri"; font-size: 12.0pt;">The life and music o<span style="letter-spacing: -.95pt;">f</span> James Wilson</span></i><span style="font-family: "calibri"; font-size: 12.0pt;"> </span></div>
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<span style="font-family: "calibri"; font-size: 12.0pt; font-style: normal;">Mitchell
Cohen: </span><i><span style="font-family: "calibri"; font-size: 12.0pt;">The
politics o<span style="letter-spacing: -.95pt;">f</span> opera: a history from
Monteverdi to Mozart</span></i></div>
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}p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }p.contentsitem, li.contentsitem, div.contentsitem { margin: 0cm 0cm 0.0001pt; line-height: 13.5pt; font-size: 11.5pt; font-family: FournierMT-Italic; color: black; font-style: italic; }p.contentsitemspaceabove, li.contentsitemspaceabove, div.contentsitemspaceabove { margin: 7.1pt 0cm 0.0001pt; line-height: 13.5pt; font-size: 11.5pt; font-family: FournierMT-Italic; color: black; font-style: italic; }.MsoChpDefault { font-family: Cambria; }div.WordSection1 { }</style>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.comtag:blogger.com,1999:blog-8292341677240767236.post-67189036909490512782018-03-12T16:17:00.001+00:002018-03-12T16:17:58.138+00:00From the Spring 2018 Musical Times, available now<span style="font-family: "trebuchet ms" , sans-serif;"><b>Articles</b></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnG3-VsC7DUGvgbgg86kBk8QG6WLxFt6dBEt3A-JT1Soc-EpCvu7-WCU_jhSOUU1eUwMCR-vQ1GhyEtNy06cWahCW-Vo20ccq7LtkKQNpI88ZUAVP_0iSvHyihg0DHJnh48JWG99Zhrxw/s1600/mt+cover+spring+2018.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1233" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnG3-VsC7DUGvgbgg86kBk8QG6WLxFt6dBEt3A-JT1Soc-EpCvu7-WCU_jhSOUU1eUwMCR-vQ1GhyEtNy06cWahCW-Vo20ccq7LtkKQNpI88ZUAVP_0iSvHyihg0DHJnh48JWG99Zhrxw/s200/mt+cover+spring+2018.jpg" width="153" /></a></b></span></div>
<br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">Arnold Whittall: ‘Michael Tippett and the model musical citizen’<br />John Harley: ‘William Forster discovered’<br />Eric L. Altschuler: ‘A whole-tone scale and a “mirror” repeat in Bach’s partitas and sonatas for solo violin’<br />Katalin Komlós: ‘<i>Tonus primus</i> in Haydn’s instrumental music’<br />Barbara Barry: ‘Spiral time and the paradigm of persuasion: recontextualising Beethoven’s String Quartet op.127’<br />Olga Baird: ‘Josef Woelfl in Warsaw: his Polish patrons, pupils, addressees and friends’</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Diego Malquori: ‘Form, dissonance and life in Schoenberg’s expressionist music’</span><br />
<br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><b>Reviews</b></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>by</i> Andrew Thomson, Arnold Whittall and Patricia Howard <i>of</i></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Paul Watt: <i>Ernest Newman: a critical biography</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Vicki P. Stroeher & Justin Vickers, edd.: <i>Benjamin Britten studies: essays on an inexplicit art</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">David Forrest, Quinn Patrick Ankrum, Stacey Jocoy & Emily Ahrens Yates, edd.: <i>Essays on Benjamin Britten from a centenary symposium</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Eric Saylor: <i>English pastoral music: from arcadia to utopia, 1900–1955</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">Helen Southworth:<i> ‘Fresca’: a life in the making: a biographer’s quest for a forgotten Bloomsbury polymath</i></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;">RJ Arnold: <i>Musical debate and political culture in France 1700–1830</i></span>The Musical Timeshttp://www.blogger.com/profile/14254571258091774450noreply@blogger.com