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1992 Prom premières
No full textDiscussion of James Dillon's 'ignis noster' and John Tavener's 'We shall see Him as He is (Ikon of the Beloved)', both premièred at the Proms in 1992
The chalumeau in the works of Fux
No full textAlthough single-reed instruments found a place in Vienna throughout the eighteenth century, research into the history of the clarinet has naturally focused largely upon the decade from 1781, which witnessed the fruitful relationship of Mozart with the virtuoso Anton Stadler. The few surviving instruments from this time indeed testify to the pre-eminence of Viennese manufacturers, with specifications which encourage richness of sound and homogeneity of tone in both registers. A particular feature is their evenness of scale in the lowest part of the compass, a speciality of Stadler’s playing which was espoused enthusiastically in Mozart’s works. In 1785 the Viennese aesthetician Daniel Schubart characterized the clarinet as overflowing with love, whilst praising its indescribable sweetness of expression. 1 In addition to the new type of idiomatic clarinet writing inspired by the Mozart-Stadler collaboration, there is other evidence of a more highly evolved playing style in Vienna, for example in Haydn’s clarinet parts in the Creation, which show a considerable advance by comparison with his relatively cautious approach to the instrument in the London symphonies
Licensed and unlicensed: Review of 'Continuo playing according to Handel: his figured bass exercises' edited by David Ledbetter, and 'A new treatise on accompaniment by Monsieur de Saint Lambert' edited and translated by John S. Powell
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Book review: 'Accompaniment on theorbo and harpsichord: Denis Delair's treatise of 1690' translation and commentary by Charlotte Mattax
No full textDo-it-yourself editions: review of 'Canzoni da suonare a 4, 5, 6, 7, 8, 9, 10, 11, 12 & 13 (Italian instrumental music of the 16th and 17th centuries, vol. 26)' by Pietro Lappi, edited by James Ladewig
No full textMagic bells: review of 'Le jardin retrouvé: the music of Frédéric Mompou' by Wilfrid Mellers
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Victorian brass bands: the establishment of a 'working class musical tradition'
No full textThe 19th-c. brass band movement in the United Kingdom was not limited to the working class but embraced people from all levels of society
