13 The Earliest Surviving Engraved Music Plates?

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. List of Music Examples xi
5. List of Contributors xiii
6. Acknowledgements xvii
7. List of Abbreviations xix
8. Note to the Reader xxi
9. Introduction 1
10. Part I. Performers and Performance Style
11. 1 Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s 9
12. 2 Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra 32
13. 3 Thomas Vincent (1723–1798): Oboist, Composer, and Entrepreneur 54
14. 4 J.C. Bach and the ‘true Organ Style’: Propriety and Impropriety in Eighteenth-Century English Organ Music 72
15. Part II. Composers and Secular Institutions
16. 5 Henry Purcell’s Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century 91
17. 6 From ‘Fowle Originall’ to ‘Printed for the Author’: The Autograph Score of William Croft’s ‘Laurus cruentas 106
18. 7 James Lates of Oxford and his Sixteen Minuets 129
19. 8 William Hayes (1708–1777), Professor of Music 143
20. Part III. Sacred Music and Institutions
21. 9 Music and Musicians at Westminster Abbey, 1685–1760 167
22. 10 Catholic Church Music in Eighteenth-Century Britain 183
23. 11 Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I 199
24. Part IV. Dissemination: Copying, Printing, and Publishing
25. 12 ‘You can’t have it of Smith except you’ll have it wrote out on Purpose’: Eighteenth-Century Copyists of Handel’s Music in London and the ‘Smith Scriptorium 225
26. 13 The Earliest Surviving Engraved Music Plates? 240
27. Epilogue: Musica Britannica and the Eighteenth Century 263
28. Harry Diack Johnstone: A Tribute 277
29. Bibliography of the Publications of Harry Diack Johnstone 279
30. Index 283
31. Tabula Gratulatoria 291