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British Music, Musicians and Institutions, c. 1630-1800
Essays in Honour of Harry Diack Johnstone
-
Peter Lynan
and Julian Rushton -
With contributions by:
Olive Baldwin
, Donald Burrows , Olive Baldwin , Donald Burrows , John Caldwell and Kelly Domoney
Language:
English
Published/Copyright:
2021
About this book
Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions.
British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.
British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.
Author / Editor information
Contributor: Peter Lynan
PETER LYNAN is General Editor of Musica Britannica.
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Contributor: Julian Rushton
JULIAN RUSHTON is Emeritus Professor of Music, University of Leeds, UK.
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Contributor: Donald Burrows
Donald Burrows is Professor of Music at the Open University and a leading scholar of the music of George Frideric Handel.
Topics
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Frontmatter
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Contents
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List of Illustrations
vii -
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List of Music Examples
xi -
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List of Contributors
xiii -
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Acknowledgements
xvii -
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List of Abbreviations
xix -
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Note to the Reader
xxi -
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Introduction
1 - Part I. Performers and Performance Style
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1 Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s
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2 Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra
32 -
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3 Thomas Vincent (1723–1798): Oboist, Composer, and Entrepreneur
54 -
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4 J.C. Bach and the ‘true Organ Style’: Propriety and Impropriety in Eighteenth-Century English Organ Music
72 - Part II. Composers and Secular Institutions
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5 Henry Purcell’s Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century
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6 From ‘Fowle Originall’ to ‘Printed for the Author’: The Autograph Score of William Croft’s ‘Laurus cruentas
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7 James Lates of Oxford and his Sixteen Minuets
129 -
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8 William Hayes (1708–1777), Professor of Music
143 - Part III. Sacred Music and Institutions
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9 Music and Musicians at Westminster Abbey, 1685–1760
167 -
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10 Catholic Church Music in Eighteenth-Century Britain
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11 Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I
199 - Part IV. Dissemination: Copying, Printing, and Publishing
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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
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13 The Earliest Surviving Engraved Music Plates?
240 -
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Epilogue: Musica Britannica and the Eighteenth Century
263 -
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Harry Diack Johnstone: A Tribute
277 -
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Bibliography of the Publications of Harry Diack Johnstone
279 -
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Index
283 -
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Tabula Gratulatoria
291
Publishing information
Pages and Images/Illustrations in book
eBook published on:
January 30, 2024
eBook ISBN:
9781800103511
Original publisher:
Boydell Press
Pages and Images/Illustrations in book
eBook ISBN:
9781800103511
Keywords for this book
British Music; Musicians; Institutions; Eighteenth Century; Historical Performance Practice; Music Education; Music-Printing; Social Institutions; Religious Institutions; Secular Institutions; Composition; Performance; Musical Heritage
Audience(s) for this book
For an expert adult audience, including professional development and academic research