From the Autumn 2014 Musical Times, available now


Leo Black: ‘The four seasons of Franz Schmidt’

Barbara Barry: ‘Schubert’s Quartettsatz: a case study in confrontation’

Rodney Stenning Edgecombe: ‘The melokinesis of Ken Russell’s The music lovers

Arnold Whittall: ‘Michael Finnissy’s instrumental music drama’

Book reviews

by Peter Phillips, Andrew Thomson, Arnold Whittall and Peter Williams of

Nick Wilson: The art of re-enchantment: making early music in the modern age
Christopher Dingle & Robert Fallon, edd.: Messiaen perspectives 1 & 2
Bryan R. Simms: Pro mundo–pro domo: the writings of Alban Berg
Robin Maconie: Experiencing Stravinsky: a listener’s companion
Paul Rodmell: Opera in the British Isles, 1875–1918
Richard Maunder: The scoring of classical concertos, 1750–1780

Mai Kawabata: Paganini: the demonic virtuoso

From the Summer 2014 Musical Times, available now


Rita Steblin: ‘Who was Beethoven’s “Elise”? A new solution to the mystery’

Kieran Fenby-Hulse: ‘Beethoven, literature, and the idea of tragedy’

Andrew Thomson: ‘Mélisande’s sickroom and Baudelaire’s angels: secret programmes in Berg’s Violin Concerto’

Arnold Whittall: ‘Rotations and reflections: the musical presence of George Benjamin

Beverly Jerold: ‘Tempi in the era of Bach’

Leo Black: ‘The birth of a dynasty: remembering Francesco Ticciati’

Book reviews

by Andrew Thomson, Arnold Whittall, Patricia Howard and Peter Williams of

Richard Chesser & David Wyn Jones, edd.: The land of opportunity: Joseph Haydn and Britain
Robert G. Rawson: Bohemian baroque: Czech musical culture and style, 1600–1750
Alexander J. Fisher: Music, piety, & propaganda: the soundscapes of Counter-Reformation Bavaria
Stephen Walsh: Musorgsky and his circle
Michael Burden: Regina Mingotti: diva and impresario at the King’s Theatre, London
Stephen Lloyd: Constant Lambert: beyond The Rio Grande

From the Spring 2014 Musical Times, available now


Arnold Whittall: ‘Parsifal 2014: composition and culture’
Bojan Bujić: ‘Language and identity: Wagner and some dilemmas of early modernism’
Kevin O’Connell: ‘Why is Berg’s op.6 still so difficult to understand?’
Leo Black: ‘A rearguard action for the avant-garde: 23
Rodney Stenning Edgecombe: ‘Topoi and melodic morphology in the operas of Donizetti’
Peter Williams: ‘Bach and the organ’
Olga Baird: ‘Pugnani and Viotti’s European tour: new materials from the memoirs of Ludwig-Wilhelm Tepper de Ferguson’

Book reviews

by Andrew Thomson, Arnold Whittall, Peter Phillips, Matthias Range and Peter Williams of

Barbara L. Kelly: Music and ultra-modernism in France: a fragile consensus, 1913–1939
Alain Frogley & Aidan J. Thomson, edd.: The Cambridge companion to Vaughan Williams
Phillip A. Cooke & David Maw, edd.: The music of Herbert Howells
Monty Adkins & Michael Russ, edd.: The Roberto Gerhard companion
Christopher Mark: Britten: an extraordinary life
Keith Potter, Kyle Gann & Pwyll ap Siôn, edd.: The Ashgate research companion to minimalist and postminimalist music
Pwyll ap Siôn, ed.: Michael Nyman: collected writings
Robert Adlington: Composing dissent: avant-garde music in 1960s Amsterdam
Kevin C. Karnes: A kingdom not of this world: Wagner, the arts, & utopian visions in fin-de-siècle Vienna
Willem Elders: Josquin des Prez and his musical legacy: an introductory guide
Christian Bährens: Händels Utrechter Te Deum: Geschichte – Musik – Interpretation
Trevor Herbert & Helen Barlow: Music and the British military in the long nineteenth century

From the Winter 2013 Musical Times, available now


Chris Walton: ‘The many lives of Marcel Sulzberger’

Marten Noorduin: ‘Czerny’s impossible metronome marks’

Benjamin Wolf: ‘The SPNM 1943–1975: a retrospective’

Michael Hooper: ‘The well-tempered oboe and the tradition of innovation’

Book reviews

by Andrew Thomson, Leo Black, Arnold Whittall, Peter Williams and Patricia Howard of

John Drysdale: Elgar’s earnings

Annegret Fauser: Sounds of war: music in the United States during World War II

Robert Pascall: Brahms beyond mastery: his Sarabande and Gavotte and its recompositions

Tamara Levitz, ed.: Stravinsky and his world

Hans Keller: Britten: essays, letters and opera guides

Gregory S. Johnston: A Heinrich Schütz reader: letters and documents in translation

William Gibbons: Building the operatic museum: eighteenth-century opera in fin-de-siècle Paris

From the Autumn 2013 Musical Times, available now


Allan W. Atlas: ‘On the cyclic integrity of Vaughan Williams’s Songs of travel: one new question – no new answer’

Minji Kim: ‘ “The rise and fall of empires”: predestination and free will in Jennens and Handel’s Belshazzar

Franco Sciannameo: ‘Ennio Morricone at 85: a conversation about his “mission” ’

Rodney Stenning Edgecombe: ‘The elegiac epithalamium: a romantic topos’

Robert Michael Anderson: ‘Polemics or philosophy? Musical pathology in Eduard Hanslick’s Vom Musikalisch-Schönen

Book reviews

by Leo Black, Andrew Thomson, Arnold Whittall, David CormackPatricia Howard, Peter Williams and David Wright of

Scott Burnham: Mozart’s grace
Simon Morrison: Lina & Serge: the love & wars of Lina Prokofiev
Igor Stravinsky: The rite of spring: facsimile of the autograph full score
Igor Stravinsky: The rite of spring: facsimile of the version for piano four hands
Hermann Danuser & Heidy Zimmermann, edd.: Avatar of modernity: The rite of spring reconsidered
Robert Craft: Stravinsky: discoveries & memories
John W. Barker: Wagner and Venice fictionalized
George Rochberg: A dance of polar opposites: the continuing transformation of our musical language
Lawrence Kramer: Expression and truth: on the music of knowledge 
Guy Capuzzo: Elliott Carter’s What next?: communication cooperation, and separation
Joel Sachs: Henry Cowell: a man made of music
Barbara Eichner: History in mighty sounds: musical constructions of German national identity 1848–1914
Nicole Grimes, Siobhán Donovan & Wolfgang Marx, edd.: Rethinking Hanslick: music, formalism, and expression
Thomas Adès: Full of noises: conversations with Tom Service 
Neil Jenkins: John Beard: Handel and Garrick’s favourite tenor
Sarah McCleave: Dance in Handel’s London operas 
Zoltan Göncz: Bach’s testament: on the philosophical and theological background of The art of fugue
Anthony Hammond: Pierre Cochereau: organist of Notre-Dame 
Daniel Jay Grimminger: Sacred song and the Pennsylvania Dutch
Kenneth Gloag & Nicholas Jones, edd.: The Cambridge companion to Michael Tippett

From the Summer 2013 Musical Times, available now

Arnold Whittall: ‘Britten and Lutosławski: taming the 20th-century avant garde’
Andrew Thomson: ‘Kill or cure? Eros and death instincts in Mahler 6 and Elgar 2’
Richard Turbet: ‘Music by Byrd and his British contemporaries in European libraries’
Mary Cyr: ‘Rameau and the viol: the enigma of the “Musette en rondeau” ’
Michael Baker: ‘A study in phrase rhythm: Werner’s Curious musical calendar
Simon Fleming: ‘John Pixell: an 18th-century vicar and composer’
Simon Andrews: ‘Is Mozart the author of the orchestration of bars 37–48 of the Requiem aeternam of K.626?’
Karen McAulay: ‘ “Appropriate melodies” and “natural modes”: two Victorian Scottish songbooks’

Book reviews
by Arnold Whittall, Andrew ThomsonPatricia Howard and David Wright of

Philip Reed & Mervyn Cooke, edd.: Letters from a life: selected letters of Benjamin Britten, volume six 1966–1976
Neil Powell: Benjamin Britten: a life for music
Paul Kildea: Benjamin Britten: a life in the twentieth century
David CH WrightThe Associated Board of the Royal Schools of Music: a social and cultural history
Charles Ford: Music, sexuality and the Enlightenment in Mozart’s Figaro, Don Giovanni and Così fan tutte
Clive McClelland: Ombra: supernatural music in the eighteenth century
Marina Frolova-Walker & Jonathan Walker: Music and Soviet power 1917–1932

What We Really Do

Newly published

The Tallis Scholars
second edition

by Peter Phillips

For ordering details click here.