From the Winter 2017 Musical Times, available now


Stephen Arthur Allen: ‘Symphony within: rehearing Holst’s A Moorside Suite
David Nelson: ‘On visiting Roberto Gerhard in 1961 and 1965, and playing his Capriccio for solo flute’
Mary Cyr: ‘Carmontelle’s portraits of 18th-century musicians’
Beverly Jerold: ‘Performance conditions, standards and Bach’s chorus’
Brian Chapman: ‘Carl Linnaeus, Philip Miller and the librettist of Handel’s Solomon
Katharina Uhde: ‘Rediscovering Joseph Joachim’s “Hungarian” and “Irish” [“Scottish”] fantasias’


by Arnold Whittall, Emanuel Overbeeke and Andrew Thomson of

Severine Neff, Maureen Carr & Gretchen Horlacher, edd.: The Rite of Spring at 100
Donald G. Traut: Stravinsky’s ‘great passacaglia’: recurring elements in the Concerto for Piano and Wind Instruments
Peter O’Hagan: Pierre Boulez and the piano: a study in style and technique
Edward Campbell & Peter O’Hagan, edd.: Pierre Boulez studies
Martin Zenck: Pierre Boulez: die Partitur der Geste und das Theater der avant-garde
Christian Wolff: Occasional pieces: writings and interviews, 1952–2013
Jennie Gottschalk: Experimental music since 1970
Gordon Mumma: Cybersonic arts: adventures in American new music   
Kelly St. Pierre: Bedřich Smetana: myth, music, and propaganda

From the Autumn 2017 Musical Times, available now


Alison Garnham: ‘The first international concert season of the European Broadcasting Union’

Tish Kennedy Davenport: ‘Fridrich Bruk at 80: programmatic narratives and Jewish folk influences in Symphonies 3, 10 and 11’

Patricia Howard: ‘Post mortem: new evidence on the location of Guadagni’s tomb’

Barry Cooper: ‘The early copy of Beethoven’s Allegretto in B minor for string quartet’

Barbara Barry: ‘In search of the enigma code: Beethoven’s A minor quartet op.132 and the double helix’

Joseph Sargent: ‘Howells’s depersonalised Requiem’

William Hart: ‘New light on George Bridgtower’


by Katalin Komlós, Patricia Howard, Andrew Thomson and Chris Walton of

Peter Williams: Bach: a musical biography
Richard Kramer: Cherubino’s leap: in search of the Enlightenment moment
Chris Walton: Richard Flury: the life and music of a Swiss romantic
Raymond Holden: Barbirolli: chronicle of a career
Nigel Simeone & John Tyrrell, edd.: Charles Mackerras

From the Summer 2017 Musical Times, available now


Peter Phillips: ‘Eton encounters: reflections on the Choirbook’

Donald Burrows: ‘Who was Handel’s tenor soloist in 1751?’

Ian Bartlett: ‘Blessed is he: an overlooked early anthem by William Boyce’

Arnold Whittall: ‘Questioning the sound: the music of Christian Mason’


by Andrew Thomson, David Wright, Arnold Whittall and David Cormack of

John Carnelley: George Smart and nineteenth-century concert life
Philip Rupprecht: British musical modernism: the Manchester Group and their contemporaries
Mark Hutchinson: Coherence in new music: experience, aesthetics, analysis
Peter Edwards: György Ligeti’s Le Grand Macabre: postmodernism, musico-dramatic form and the grotesque
Rose Dodd, ed.: Perspectives on the music of Christopher Fox: straight lines in broken times
Edward Venn: Thomas Adès: Asyla
Oswald Georg Bauer: Die Geschichte der Bayreuther Festspiele

From the Spring 2017 Musical Times, available now


Barbara Barry: ‘Invisible cities and imaginary landscapes “quasi una fantasia”: on Beethoven’s op.131’

Rodney Stenning Edgecombe: ‘The varieties of musical pastiche: a taxonomy’

John Harley: ‘Byrd, barley break, battles, branles and ballets’

Richard Turbet: ‘Two invisible songs by Byrd’

Stephen Arthur Allen: ‘Death of inner sense: the passacaglia finale of Britten’s Violin Concerto’

Robin Rolfhamre: ‘The language of Early Music performance: a proposition on how to connect words and instrumental music’

Olga Baird: ‘ “To Madame Zernitz, née Deeling, in Warsaw, with particular respect and friendship” ’ 


by Andrew Thomson, Arnold Whittall, David Wright and Gary O’Shea of

Oliver Hilmes: Franz Liszt: musician, celebrity, superstar
Charles Youmans: Mahler & Strauss: in dialogue
Michael Reynolds: Creating Der Rosenkavalier: from chevalier to cavalier
David Wyn Jones: Music in Vienna: 1700, 1800, 1900
Christopher Redwood: William Hurlstone: Croydon’s forgotten musical genius
Philip Ross Bullock: Pyotr Tchaikovsky
Pauline Fairclough: Classics for the masses: shaping Soviet musical identity under Lenin and Stalin
Marina Frolova-Warner: Stalin’s music prize: Soviet culture and politics
Cameron Pyke: Britten and Russia
Vicki P. Stroeher, Nicholas Clark & Jude Brimmer, edd.: My beloved man: the letters of Benjamin Britten and Peter Pears

From the Winter 2016 Musical Times, available now


Warwick Lister: ‘Dragonetti, Viotti and those superb sextets of Mozart’

Kris Steyaert: ‘Mozart with a French twist: “Mademoiselle Jeunehomme” revisited’

Mark S. Zimmer: ‘Liebe: the discovery and identification of a Beethoven song lost since 1822’

Andrew Thomson: ‘Berlioz and Byron in the shadow of Napoléon’s downfall: a new look at Harold en Italie

Arnold Whittall: ‘From earlier to later Wagner: conflict and transformation’

Philippa Tudor: ‘The composer and the critic: Gustav Holst and Edwin Evans’

Veronica Mary Franke: ‘Klatzow reinvented: from modernist, non-tonal activist to tonal art-music champion’

Ömer Egecioglu: ‘A note on Heifetz’s arrangement of Rameau’s Rigaudon’


by Patricia Howard and Geoffrey Álvarez of

Tim Carter: Understanding Italian opera
David Kimbell: Handel on the stage
Joseph Vella Bondin: The great Maltese composers: historical contexts, lives and works

From the Autumn 2016 Musical Times, available now


Arnold Whittall: ‘From post-tonal to postmodern? Two string quartets by Joseph Phibbs
Robin Maconie: ‘Stockhausen’s Elektronische Studien I and II’
Diego Malquori: ‘Music beyond silence: a reading of Arvo Pärt’s Credo’ 
Mary Cyr: ‘Marin Marais, the basse-continue and a “different manner” of composing for the viol’
Luke Dollman: ‘A gulf of difference: conducting pedagogues Ilya Musin and Jorma Panula’
Allan W. Atlas: ‘Vaughan Williams in the New York crossfire: Olin and Harold v. Virgil and Paul’
Joseph Arthur Mann:  ‘Nineteenth-century music and the case of James William Davison’

by Peter Phillips, Patricia Howard, Arnold Whittall and Andrew Thomson of
Matthias Range: British royal and state funerals: music and ceremonial since Elizabeth I
Paul F. Rice: Venanzio Rauzzini in Britain: castrato, composer, and cultural leader
Hilda Meldrum Brown: The quest for the Gesamtkunstwerk & Richard Wagner
Peter Wiegold & Ghislaine Kenyon, edd.: Beyond Britten: the composer and the community
Eric Saylor & Christopher M. Scheer, edd.: The sea in the British musical imagination
MJ Grant & Imke Misch, edd.: The musical legacy of Karlheinz Stockhausen: looking back and forward
Caroline Potter: Erik Satie: a Parisian composer and his world
Peter Dickinson: Words and music 

From the Summer 2016 Musical Times, available now


Arnold Whittall: ‘In memoriam Sir Peter Maxwell Davies’
David Ponsford and Andrew Thomson: ‘In memoriam Peter Williams’
David Humphreys: : ‘Why did Tallis compose the Missa Puer nobis natus est?’
Alon Schab: ‘Dowland’s Lachrimae: a passionate interpretation’
Steven Plank: ‘ “See, even Night herself is here”: night, Purcell and evocations of James II’
Simon Fleming: ‘Avison’s op.1 trio sonatas and the influence of Corelli’
Rodney Stenning Edgecombe: ‘Figaro’s aria di sortita and Il barbiere di Siviglia 
Olga Baird: ‘Ignaz Pleyel and Ludwig-Wilhelm Tepper de Ferguson: the mystery of the“Twelve German Songs” ’
Lucas Wong: ‘Humour in late Debussy: multiple perspectives on Douze études
Godwin Sadoh: ‘Cross-cultural expressions in the music of Joshua Uzoigwe’

Book reviews

by Arnold Whittall, Chris Walton Andrew Thomson and Gary O’Shea of

Andrew Palmer: Encounters with British composers
John Palmer: Conversations
Arnold Whittall: The Wagner style: close readings and critical perspectives 
Lewis & Susan Foreman, edd.: Felix Aprahamian: diaries and selected writings on music
Kiril Tomoff: Virtuosi abroad: Soviet music and imperial competition during the early Cold War, 1945–1958