The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, FranAois Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.

It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau’s operas. The individual essays are informed by a variety of disciplines or sub-disciplines - literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, FranAois Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.

It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau's operas. The individual essays are informed by a variety of disciplines or sub-disciplines - literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

When Tommy Shelby, Steve Knight's principal character in The Peaky Blinders, first rode onto our television screen, viewers were presented with a battle-scarred, but still relatively young veteran, from the Great War. Meanwhile, in the neighbouring, real-life streets of Balsall Heath and Sparkhill, the Wareing family of eight children (and a musicallygifted mother, Lilian) struggled to cope with their invalid father's return to 65 Brunswick Road, fresh from the hell-hole of Gallipoli. Harry Senior, the author's grandfather, having contracted meningitis, returned home as a self centred, ruthless stranger. With a Good Old Days MC introduction, by Comedian, Entertainer and Papal Knight, Don Maclean, it features 12 of the author's newly composed songs. A Power Point display runs throughout, linked by five Edward Elgar compositions – the composer and Shirley's maternal Great Grandfather, Eustace Baylis, having been schoolboy friends. Introductory pages are followed by the main script, interspersed with song scores. All scenes are slide-illustrated, to correspond with the Power Point Disc (included). Music for the show's five 'a cappella' songs is in the Appendices. Add a diverse range of characters, plus shades of Oliver Twist, and we have an exciting new musical – just ripe for performance!

This inspirational book is Pat Roach's final goodbye to the world, before his tragic death. The 'Gentle Giant' battled with cancer for six-and-a-half years, before it eventually claimed him, in the small hours of Saturday 17 July, 2004. His confidante and biographer, Shirley Thompson, has combined Pat's final experiences and thoughts, with over seventy tributes from close family and friends, to produce a fascinating book. Pat's widow, Doreen, step-brother Pete Meakin, and a host of celebrities, including Kevin Whately, Chris Fairbank, Julia Tobin, Noel Clarke, Jimmy Nail and Timothy Spall, all feature prominently. Tim Healy, who was a particularly close friend, has written an entire chapter, scriptwriters Dick Clement and Ian La Frenais provide an insightful Foreword. Pat's wish that this last book should convey a message of hope to fellow cancer patients, whilst also providing a measure of funding for the Cancer BACUP charity, will be realised, as the book is launched. His courage, combined with the warmth and affection that he frequently inspired in others, shines throughout. But be prepared for a few unexpected surprises, including a chapter that could only be published posthumously! Two galleries, containing over a hundred unique photographs, provide the crowning glory to this truly memorable book...the third and final biography in the "Pat Roach Trilogy."

Birmingham would definitely not be the place that it is today, without Eddie Fewtrell. Born one of ten children in the 1930s, in the backstreets of Aston, much of Eddie's childhood was spent keeping house and caring for his younger brothers. An alcoholic father and an invalid mother prevented him from attending school and leading a normal life - a scenario a million light years away from the vast nightclub empire that he was destined to build. By the 1970s he had become the most powerful man in Birmingham's Clubland. With the support of his large family, in particular his seven brothers, he went on to achieve even greater success.Eddie's first club, the Bermuda Club, was in Navigation Street, Eddie moved to pastures new, in the form of the Cedar Club, on Constitution Hill. Over the next few years Eddie opened Rebecca's, Abigail's, Boogie's nightclub, Boogie's Brasserie, Edward's No.7, Edward's No.8, the Paramount pub and Goldwyn's. Barbarella's became the top showcase for many up and coming UK pop groups. In 1989, he sold his clubs to Ansells but he returned three years later to open a new wave of clubs. Professional success came at a high price; Eddie reveals how his millionaire lifestyle and the pursuit of wealth led to tragic consequences.Other contributors include Laurie Hornsby, Kenny Lynch, Patti Bell, Tony Christie, Raymond Froggatt and H. Cain, Mike Alexander, BBC WM presenter Phil Upton, pop legends Bev Bevan, Steve Gibbons and Chuck Botfield. Comedians Don Maclean, Dave Ismay and Eddie's good friend Bernard Manning, interviewed shortly before his tragic death.