An examination of the work and music of the Royalist composer William Lawes. William Lawes is arguably one of the finest English composers of the early seventeenth century. Born in Salisbury in 1602, he rose to prominence in the early 1630s; in 1635 he gained a prestigious post among the elite private musicians of Charles I (the "Lutes, Viols and Voices"). With the outbreak of civil war in 1642, Lawes took arms in support of the king; he died during the Siege of Chester in September 1645. This book is divided into three sections. The first is a contextual examination of music at the court of Charles I, with specific reference to the abovementioned arcane group of musicians; much of Lawes's surviving consort music appears to have been written to be performed by this group. The remainder of the book deals with William Lawes the composer. The second section is a detailed study of Lawes's autograph sources: the first of its kind. It includes 62 black and white facsimile images, and complete inventories of all the autographs, and presents ground-breaking new research into Lawes's scribal hand, the sources and their functions, and new evidence for their chronology. The third section comprises six chapters on Lawes's consort music; in these chapters various topics are examined, such as chronology, Lawes's compositional process, and the relationship between Lawes's music and the court context from which it arose. This book willbe of interest to scholars working on English music in the Early Modern period, but also to those interested in source studies, compositional process and the function of music in the Early Modern court. JOHN CUNNINGHAMis a Senior Lecturer in Music, at Bangor University.

In this groundbreaking study, D. R. M. Irving reconnects the Philippines to current musicological discourse on the early modern Hispanic world. For some two and a half centuries, the Philippine Islands were firmly interlinked to Latin America and Spain through transoceanic relationships of politics, religion, trade, and culture. The city of Manila, founded in 1571, represented a vital intercultural nexus and a significant conduit for the regional diffusion of Western music. Within its ethnically diverse society, imported and local musics played a crucial role in the establishment of ecclesiastical hierarchies in the Philippines and in propelling the work of Roman Catholic missionaries in neighboring territories. Manila's religious institutions resounded with sumptuous vocal and instrumental performances, while an annual calendar of festivities brought together many musical traditions of the indigenous and immigrant populations in complex forms of artistic interaction and opposition.
Multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities, and Irving uses the metaphors of European counterpoint and enharmony to critique musical practices within the colonial milieu. He argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. He also contends that the active appropriation of music and dance by the indigenous population constituted a significant contribution to the process of hispanization. Sustained "enharmonic engagement" between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Throwing new light on a virtually unknown area of music history, this book contributes to current understanding of the globalization of music, and repositions the Philippines at the frontiers of research into early modern intercultural exchange.

for SSAATTBB unaccompanied Ave gloriosa mater salvatoris is a challenging and yet delicate anthem, with subtle key-signature changes, vocal divisions in up to eight parts, and alternating homophonic and polyphonic passages. The text includes excerpts from the synonymous medieval hymn and Wordsworth's poem The Virgin, making the piece suitable for a variety of sacred celebrations and particularly those of the Blessed Virgin Mary.

"Music and the Making of the Middle Class" explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.

The Differentiation of Modernism analyzes the phenomenon of intermediality in German radio plays, film music, and electronic music of the late modernist period (1945-1980). After 1945, the purist "medium specificity" of high modernism increasingly yielded to the mixed forms of intermediality. Theodor Adorno dubbed this development a "Verfransung," or "fraying of boundaries," between the arts. TheDifferentiation of Modernism analyzes this phenomenon in German electronic media arts of the late modernist period (1945-80): in radio plays, film music, and electronic music. The first part of the book begins with a chapter on Adorno's theory of radio as an instrument of democratization, going on to analyze the relationship of the Hoerspiel or radio play to electronic music. In the second part, on film music, a chapter on Adorno and Eisler's Composing for the Film sets the parameters for chapters on the film Das Madchen Rosemarie (1957) and on the music films of Jean-Marie Straub and Daniele Huillet. The third part examines the music of Karlheinz Stockhausen and its relationship to radio, abstract painting, recording technology, and theatrical happenings. The book's central notion of the "differentiation of culture" suggests that late modernism, unlike high modernism, accepted the contingency of modern mass-media driven society and sought to find new forms for it. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City. He is the author of The Technological Unconscious in German Modernist Literature (Camden House, 2008).

for SATB (with divisions) and soprano saxophone Setting the original Latin text of the hymn better known as 'Hark! a thrilling voice is sounding', Jackson creates an Advent piece of beautiful stillness. The largely homophonic choral parts, with a soloist supplying a gentle contrapuntal line, are contrasted with light and graceful interjections from the saxophone. The result is a quietly moving piece ideally suited for a reflective moment during an Advent service.

for SSATB and cello Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea, earth, and air, McDowall uses vocal clusters and haunting solo cello lines to highlight the sense of fear, awe, and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight. The solo cello part is available for sale separately.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

The rock and roll music that dominated airwaves across the country during the 1950s and early 1960s is often described as a triumph for integration. Black and white musicians alike, including Chuck Berry, Little Richard, Elvis Presley, and Jerry Lee Lewis, scored hit records with young audiences from different racial groups, blending sonic traditions from R&B, country, and pop. This so-called "desegregation of the charts" seemed particularly resonant since major civil rights groups were waging major battles for desegregation in public places at the same time. And yet the centering of integration, as well as the supposition that democratic rights largely based in consumerism should be available to everyone regardless of race, has resulted in very distinct responses to both music and movement among Black and white listeners who grew up during this period. This book traces these distinctions using archival research, musical performances, and original oral histories to determine the uncertain legacies of the civil rights movement and early rock and roll music in a supposedly post-civil rights era.

for SSATB and organ The hymn Come, Holy Ghost lies at the heart of Celestial Fire. Here, McDowall has woven the exquisite poetry of Denise Levertov into this expressive and uplifting piece. At times quietly meditative, Celestial Fire unfolds to a most joyous, affirmative conclusion. Celestial Fire was commissioned as part of a trilogy suitable for significant occasions during the church calendar year by Oakham School; the two other Oakham anthems for organ and mixed chorus are Light Eternal and Candlemas.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

Kenneth Hamilton's book engagingly and lucidly dissects the oft-invoked myth of a Great Tradition, or Golden Age of Pianism. It is written both for players and for members of their audiences by a pianist who believes that scholarship and readability can go hand-in-hand. Hamilton discusses in meticulous yet lively detail the performance-style of great pianists from Liszt to Paderewski, and delves into the far-from-inevitable development of the piano recital. He entertainingly recounts how classical concerts evolved from exuberant, sometimes riotous events into the formal, funereal trotting out of predictable pieces they can be today, how an often unhistorical "respect for the score" began to replace pianists' improvisations and adaptations, and how the clinical custom arose that an audience should be seen and not heard. Pianists will find food for thought here on their repertoire and the traditions of its performance. Hamilton chronicles why pianists of the past did not always begin a piece with the first note of the score, nor end with the last. He emphasizes that anxiety over wrong notes is a relatively recent psychosis, and playing entirely from memory a relatively recent requirement. Audiences will encounter a vivid account of how drastically different are the recitals they attend compared to concerts of the past, and how their own role has diminished from noisily active participants in the concert experience to passive recipients of artistic benediction from the stage. They will discover when cowed listeners eventually stopped applauding between movements, and why they stopped talking loudly during them. The book's broad message proclaims that there is nothing divinely ordained about our own concert-practices, programming and piano-performance styles. Many aspects of the modern approach are unhistorical-some laudable, some merely ludicrous. They are also far removed from those fondly, if deceptively, remembered as constituting a Golden Age.

'Clemency Burton-Hill makes classical music absolutely accessible, magical and medicinal. Another Year of Wonder is, indeed, another wonder.' Dolly Alderton, broadcaster, writer and bestselling author 'Clemmie's recommendations have broadened my mind, sharpened my imagination, tugged on my heartstrings and given me a song for every mood. Read this book and let yourself float away for a moment or two. What a gift.' Emma Gannon, bestselling author and host of the Ctrl Alt Delete podcast ANOTHER YEAR OF WONDER IS A CAREFULLY CURATED COLLECTION OF CLASSICAL MUSIC OFFERING ONE PIECE TO LISTEN TO EVERY DAY OF THE YEAR. WITH A FOREWORD BY ELIZABETH DAY In this follow-up to her much-loved Year of Wonder, award-winning broadcaster, journalist and violinist Clemency Burton-Hill continues her mission to demystify and open up the world of classical music to everyone, offering up one extraordinary piece of music to listen to every day of the year. 'There is no algorithm to this book: it is a thoughtfully curated selection given from one human to another. It is not a history book, or a formal 'guide to classical music'. It is simply from my heart to yours. I have chosen pieces I love, or think historically interesting, or which have some resonance for me personally or in the world. But what matters is what you think; how they make you feel as you listen. I hope that you will fall in love with most of them, or at least be fascinated by their historical context, or find them curious in other ways, because then you are already in a relationship with classical music. This is your book, as much it is mine.' Another Year of Wonder shows that, whoever you are and wherever you come from, classical music can be a soundtrack for your everyday life and a reminder that finding a space to sit and listen to a piece of music every day can be a singular gift.

for SATB, organ, and optional handbells Through luminous choral harmonies, images of a winter night, and echoes of scripture, Advent Moon evokes deep human longing as well as the promise of the coming of light. The delicate organ accompaniment and optional handbells underscore both the haunting opening and the radiant conclusion of this piece.

Moira Bennett casts her perceptive, wry and amused eye over a childhood and adolescence in South Africa and her years raising sponsorship for the Aldeburgh Festival, the Barbican Centre and the London Symphony Orchestra. In her early fifties, Moira Bennett was widowed with a school-age son and in need of a job. With virtually no previous working experience but full of energy and determination, she found herself working at the Britten-Pears Schoolat Snape, helping to run masterclasses for young professional musicians studying with artists such as Peter Pears, Galina Vishnevskaya, Mstislav Rostropovich, Hugues Cuenod and William Pleeth. Her gift for arts administration - understanding the needs of performers and audiences - was soon to become highly valued at Aldeburgh, as she became the Registrar at the Britten-Pears School and went on to create the post of Development Director in the early days ofcommercial sponsorship of the arts. She was later invited to take on a similar role at the Barbican Centre, supporting a series of international arts festivals, before going on to work with the London Symphony Orchestra. In 2012 the Bittern Press published Moira Bennett's history of the Britten-Pears School, Making Musicians, which Classical Music magazine made one its Books of the Year. Now in her early nineties, Moira Bennett has written an extraordinary autobiography, casting an astute eye over her childhood and adolescence in South Africa, the impact of the Second World War and the Apartheid years on the country, and her second, 'unexpected', life in the arts.

This collection presents a selection of varied repertoire by J. S. Bach in new arrangements for the organ. Bringing a wealth of popular pieces under the fingers and feet of intermediate players, the volume caters for all parts of a church service, as well as providing recital repertoire and popular encores. Taking its cue from the Baroque practice of transcription, and with the needs of modern players in mind, this volume presents a set of pieces with wide and varied use and makes a valuable addition to any organist's repertoire.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

Inspired by the legendary cyclists of the Tour de France, Yellow Jersey is a short wind sprint for two saxophones, originally composed for two clarinets. The form of the piece follows how the sprint would go as the cyclists move through the different stages of the race.

for SATB and organ Archer's setting of this well-known Christmas text is lilting and buoyant, with a memorable melody and charming organ interludes. Suitable for liturgical or concert use, the carol features great textual variety, building to a rousing finish that is sure to fill audiences with Christmas cheer!