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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

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 himselfinto 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

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 hisDictionary 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 Waltonof

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

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

Performer's Perspectives on Josquin's Masses

• Judith Chernaik on Clara and Robert Schumann
• Andrew Thomson on Busoni
• Arnold Whittall on Stravinsky, Boulanger, Copland and Hindemith

• Skempton & Finnissy
• Howells & Magdalen
• Edward Clark & music
• VW in NY: 3 glimpses
• More on Fort Wayne
• Peter Maxwell Davies and Randolph Stow
• 'The Land Without Music': 18th-century perspectives
• James Wilson: an Anglo-Irish composer

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

Reviews

by Andrew Thomson, Arnold Whittall and Patricia Howard of

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

Articles

Stephen Arthur Allen: ‘Symphony within: rehearing Holst’s A Moorside Suite’
David Nelson: ‘On visiting Roberto Gerhard in 1962 and 1965, and playing his Capriccio for solo flute’
Mary Cyr: ‘Carmontelle’s portraits of 18th-century musicians’
Beverly Jerold: ‘Performance conditions, standards and Bach’s chorus’
Brian Chapman: ‘Carl Linnaeus, Philip Miller and the librettist of Handel’s Solomon’
Katharina Uhde: ‘Rediscovering Joseph Joachim’s “Hungarian” and “Irish” [“Scottish”] fantasias’

Reviews

by Arnold Whittall, Emanuel Overbeeke and Andrew Thomson of

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

Kelly St. Pierre: Bedřich Smetana: myth, music, and propaganda

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

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

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

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

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

Joseph Sargent: ‘Howells’s depersonalised Requiem

William Hart: ‘New light on George Bridgtower’

Reviews

by Katalin Komlós, Patricia Howard, Andrew Thomson and Chris Waltonof

Peter Williams: Bach: a musical biography
Richard Kramer: Cherubino’s leap: in search of the Enlightenment moment
Chris Walton: Richard Flury: the life and music of a Swiss romantic

Raymond Holden: Barbirolli: chronicle of a career

Nigel Simeone & John Tyrrell, edd.: Charles Mackerras

Articles

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

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

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

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

Reviews

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

John Carnelley: George Smart and nineteenth-century concert life
Philip Rupprecht: British musical modernism: the Manchester Group and their contemporaries
Mark Hutchinson: Coherence in new music: experience, aesthetics, analysis

Peter Edwards: György Ligeti’s Le Grand Macabre: postmodernism, musico-dramatic form and the grotesque

Rose Dodd, ed.: Perspectives on the music of Christopher Fox: straight lines in broken times

Edward Venn: Thomas Adès: Asyla

Oswald Georg Bauer: Die Geschichte der Bayreuther Festspiele

Beethovens's op.131 - Some varieties of pastiche

Secular Byrd - Early Music Performance

Madame Zernitz - Britten's Violing Concerto

Articles

Warwick Lister: ‘Dragonetti, Viotti and those superb sextets of Mozart’

Kris Steyaert: ‘Mozart with a French twist: “Mademoiselle Jeunehomme” revisited’

Mark S. Zimmer: ‘Liebe: the discovery and identification of a Beethoven song lost since 1822’

Andrew Thomson: ‘Berlioz and Byron in the shadow of Napoléon’s downfall: a new look at Harold en Italie’

Arnold Whittall: ‘From earlier to later Wagner: conflict and transformation’

Philippa Tudor: ‘The composer and the critic: Gustav Holst and Edwin Evans’

Veronica Mary Franke: ‘Klatzow reinvented: from modernist, non-tonal activist to tonal art-music champion’

Ömer Egecioglu: ‘A note on Heifetz’s arrangement of Rameau’s Rigaudon’

Reviews

by Patricia Howard and Geoffrey Álvarez of

Tim Carter: Understanding Italian opera
David Kimbell: Handel on the stage
Joseph Vella Bondin: The great Maltese composers: historical contexts, lives and works

Articles

Arnold Whittall: ‘From post-tonal to postmodern? Two string quartets by Joseph Phibbs

Robin Maconie: ‘Stockhausen’sElektronische Studien I and II’

Diego Malquori: ‘Music beyond silence: a reading of Arvo Pärt’s Credo’

Mary Cyr: ‘Marin Marais, the basse-continueand a “different manner” of composing for the viol’

Luke Dollman: ‘A gulf of difference: conducting pedagogues Ilya Musin and Jorma Panula’

Allan W. Atlas: ‘Vaughan Williams in the New York crossfire: Olin and Harold v. Virgil and Paul’

Joseph Arthur Mann: ‘Nineteenth-century music and the case of James William Davison’

Reviews

by Peter Phillips, Patricia Howard, Arnold Whittall and Andrew Thomson of

Matthias Range: British royal and state funerals: music and ceremonial since Elizabeth I

Paul F. Rice: Venanzio Rauzzini in Britain: castrato, composer, and cultural leader

Hilda Meldrum Brown: The quest for the Gesamtkunstwerk & Richard Wagner

Peter Wiegold & Ghislaine Kenyon, edd.: Beyond Britten: the composer and the community

Eric Saylor & Christopher M. Scheer, edd.: The sea in the British musical imagination

MJ Grant & Imke Misch, edd.: The musical legacy of Karlheinz Stockhausen: looking back and forward

Caroline Potter: Erik Satie: a Parisian composer and his world

Peter Dickinson: Words and music