From the Winter 2022 Musical Times, available now

 

Articles


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

Reviews 

by Arnold Whittall and Richard Langham Smith of

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

From the Autumn 2022 Musical Times, available now

Articles

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

Reviews 

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

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

From the Summer 2022 Musical Times, available now

Articles

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

Reviews 

by Judith Chernaik and Arnold Whittall of

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

From the Spring 2022 Musical Times, available now

Articles

Brian Newbould: ‘Schubert’s Mozart year’
Lionel Pike: ‘Content versus colour: Sibelius’s revision of The Oceanides
Robin Maconie: ‘On riding a bicycle’
Michael Talbot: ‘The trio sonatas of Jean-François Dandrieu (1681/82–1738)’
Laurence Libin: ‘A note on Pauline Douglas Townsend’
Donald Burrows: ‘Oboe parts for Messiah and Handel’s performances’
Simon D.I. Fleming: ‘Publishing music by subscription in India: 1789 to 1811’
Jos van der Zanden: ‘Beethoven’s Für Elise and its literary background’

Reviews 

by Andrew Thomson and Arnold Whittall of

Edward Campbell & Peter O’Hagan, edd.: The Cambridge Stravinsky encyclopedia
Alexander H. Shapiro: The consolations of history: themes of progress and potential in Richard Wagner’s Götterdämmerung

From the Winter 2021 Musical Times, available now

Articles

John Harley: ‘John Sheppard’s Westminster family’
Arnold Whittall: ‘Mass movements: James Clarke and the string quartet in 2020’
Brian Newbould: ‘Schubert and
Bach 2’
Allan W. Atlas: ‘Vaughan Williams
in Modern Music
Stephen Arthur Allen: ‘Love requiem 2: raising Resurgam

Reviews 

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

Georges Bizet: Djamileh
Hugh Macdonald: Bizet in Italy: letters and journals, 1857–1860
Richard Langham Smith: Bizet’s Carmen uncovered
Étienne Jardin, ed: Mel Bonis (1858–1937): parcours d’une compositrice de la Belle Époque
Denis Herlin & Cécile Quesney, edd.: André Caplet: compositeur et chef d’orchestre
Graham Griffiths, ed.: Stravinsky in context
Chris Walton: Richard Wagner’s essays on conducting: a new translation with critical commentary
John Ling: Debating English music in the long nineteenth century
Daniel M. Grimley: Jean Sibelius: life, music, silence
Nicolò Palazzetti: Béla Bartók in Italy: the politics of myth-making
Bryan Simms & Charlotte Erwin: Berg
Theodor W. Adorno: The new music: Kranichstein lectures
Neil Thomas Smith: Mathias Spahlinger
Tony Scotland: Wulff: Britten’s Young Apollo
Steuart Bedford: Knowing Britten
Diana McVeagh: Gerald Finzi’s letters 1915–1956

From the Autumn 2021 Musical Times, available now

Articles

Mary Cyr: ‘The “air of mystery” in François Couperin’s Pièces de violes (1728)’
Beverly Jerold: ‘The 19th-century piano and finger-strengthening devices’
Brian Newbould: ‘Schubert and Bach 1’
Andrew Thomson: ‘Proto-modernist visions of tragedy and damnation: Berlioz & Shakespeare, Liszt & Dante’
James Porter: ‘Schoenberg’s six Oscars: musical encounters with a fateful name’
Stephen Arthur Allen: ‘Love requiem 1: Eric Ball in Context’

Reviews 

by Arnold Whittall and Andrew Thomson of

Brian Ferneyhough: Complete piano music 1965–2018
Sam Hayden: Becomings: works for solo piano
Kate Kennedy: Dweller in shadows: a life of Ivor Gurney
Beverly Jerold: Disinformation in mass media: Gluck, Piccinni, and the Journal de Paris

In memoriam

Louis Andriessen

From the Summer 2021 Musical Times, available now

Articles

Julian Rushton: ‘Variations op.36 (‘Enigma’): thoughts in season’

Katalin Komlós: ‘Tolstoy’s encounter with the harpsichord: the visits of Wanda Landowska to Yasnaya Polyana’

H. Diack Johnstone: ‘John Blathwayt: a musical British teenager on the Grand Tour’

Simon D.I. Fleming: ‘Dances and national airs in domestic music manuscripts: two new sources from the 1820s’

Brian Newbould: ‘Schubert, Brahms and the sarabande’

Arnold Whittall: ‘ “The best response”? Stravinsky and modernist aesthetics’

Bojan Bujic: ‘An Alban Berg manuscript at Oxford: a postscript after 75 years’

Robin Maconie: ‘Boulez: “...éventuellement...” ’