by Adams, Byron
Schoenberg, Arnold
Scholes, Peter
Schubart, Adolphe, The Battle of Solomon
Schubert, Franz
Schultz-Curtius, Alfred
Schumann, Clara
Schumann, Robert
Schuster, Adela
Schuster, Leo Francis (Frank)
secularism
Seeger, Alan
semantic memory
Severn Grange
Severn House (Elgar home)
Sgambati, Giovanni, Messa di Requiem
Shakespeare, William
Henry IV plays
Henry V
Othello
The Tempest
Shankar, Uday, Old Indian Dances
Shanks, Edward
Shaw, George Bernard
Shaw, Norman
Shedlock, J. S.
Sheldon, A. J.
Shelley, Percy Bysshe
“Julian and Maddalo”
Shera, F. H.
Shiel, Alison I.
Shinner Quartet
Shostakovich, Dimitri
Sibelius, Jean
Valse Triste
Sickert, Walter
The P.S. Wings in the O.P. Mirror
Vesta Victoria at the Bedford
Sinclair, George Robertson
Singer, Winaretta, Princesse de Polignac
Sisters of St. Paul
Sitwell, Osbert
Sketch, The
Smith, Maisie
Smollett, Tobias
Smyth, Ethel
Der Wald
Solomon, Edward, The Nautch Girl
Solomon, Joan, A Passion to Learn
Southgate, Thomas Lea
Spark, Frederick
Spectator, The
Spence-Jones, Dean H. D. M.
Spencer, Stanley, The Resurrection of the Soldiers
Speyer, Antonia Kufferath
Speyer, Edgar
Speyer, Edward
Speyer, Leonora von Stosch
Squire, J. C.
Stainer, John
Standard, The
Stanford, Charles Villiers
Eden
Shamus O’Brien
Stabat Mater
Steuart-Powell, Hew David
Stoll, Oswald
Stoll Theater
Strand Magazine
Strauss, Richard
Ein Heldenleben
Sinfonia Domestica
Stravinsky, Igor
Streatfeild, R. A.
Stuart-Wortley, Alice
Stuart-Wortley, Charles
Sullivan, Sir Arthur
“About Music”
The Golden Legend
HMS Pinafore
In Memoriam
Iolanthe
The Tempest
Summerfield, Penny
Sunday Times (London)
Sunderland Philharmonic Society
Sydney, Sir Philip, Arcadia
symphonic poems
Tablet, The
Tasso, Tarquato
Taylor, Ronald
Tchaikovsky, Piotr Ilyich
Yevgeny Onegin
Vakula the Smith
Tennyson, Alfred Lord
Terry, Charles Sanford
Thomas, Arthur Goring
Thompson, Herbert
Thomson, Aidan, J.
Thomson, Arthur
Thoreau, Henry
Three Choirs (Gloucester) Festival
Times (London)
Tinel, Edgar
“Tipperary”
Tolkien, J. R. R.
Tosti, Paolo
Tractarians
Trevelyan, George Macaulay
Trowell, Brian
Tulving, Endel
Uhland, Ludwig
Ultramontanism
University of Birmingham
Valois, Ninette de
van Dresser, Marcia, (see Dresser, Marcia van)
Vaughan Williams, Ralph
“What Have We Learnt from Elgar?”
Venanzi, Angelo
“Dance of the Bayadères”
Viardot, Pauline
Victoria, Queen
Virgil
Visetti, Alberto
Wagner, Richard
Götterdämmerung
Meistersinger
Parsifal
Siegfried
Tristan und Isolde
Walker, Ernest
A History of Music in England
Walsh, Caroline
Walton, William
Viola Concerto
Hindemith Variations
Warlock, Peter
Warrender, Sir George John Scott
Warrender, Lady Maud
Waterworth, Father William
“The Popes and the English Church”
Waugh, Evelyn, Brideshead Revisited
Weaver, Helen
Webb, Frank
Weber, Max
Weekly Dispatch
Weingartner, Felix
Wellesley, Lord (Richard Colley Wesley)
Wells, H. G.
The History of Mr. Polly
Kipps
Love and Mr. Lewisham
Mr. Britling Sees It Through
The War That Will End Wars
Werner, Hildegard
Westminster Gazette
Weston, Robert P.
Westrup, Sir Jack
Whately, Richard, Archbishop of Dublin
Whinfield, E. W.
White, Maude Valérie
“The Devout Lover”
Whitehall, Harold, Tyneside Hymn of Hate
Whitman, Walt
Wilde, Oscar
Wilson, J. Dover
Winckelmann, Johann Joachim
Winnington-Ingram, Arthur Foley
Winnowing-Fan: Poems of the Great War, The (Binyon)
“For the Fallen”
“The Fourth of August”
“To Goethe”
“To Women”
Wolfrum, Dr. Philipp
Christmas Mystery
Wolzogen, Hans von, Handbücher
Wood, Henry
Woodforde-Finden, Amy, ‘Kashmiri Song’
Worcester
Worcester Amateur Instrumental Society
Worcester Cathedral
Elgar Window
Worcester Glee Club
Worcester Philharmonic (Society)
World, The
World War I
World War II
Worthington, Julia “Pippa”
Yastrebtsev, V. V.
Yates, Nigel
Yorke, Alexander
Yorkshire Post
Young, Percy M.
“Young England” circle
“Your King and Country Need You”
Ysaÿe, Eùgene
Zeitschrift der internationlen Musikgesellschaft
Zemlinsky, Alexander
Zweig, Stefan
Notes on the Contributors
Byron Adams, professor of composition and musicology at the University of California, Riverside, has been published widely on English music and has broadcast over the BBC. He is co-editor of Vaughan Williams Essays, and contributed entries on William Walton and Sylvia Townsend Warner to the second edition of the revised New Grove Dictionary of Music and Musicians. His articles, reviews, and essays have appeared in journals such as 19th-Century Music, Music and Letters, and the John Donne Journal and have been included in volumes such as Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002), The Cambridge Companion to Elgar (2004), and Walt Whitman and Modern Music (Garland, 2000). In 2000, he was presented with the Philip Brett Award by the American Musicological Society.
Leon Botstein is president and Leon Levy Professor in the Arts and Humanities at Bard College. He is the author of Judentum und Modernität (1991) and Jefferson’s Children: Education and the Promise of American Culture (1997). He is the editor of The Compleat Brahms (1999) and The Musical Quarterly, as well as coeditor, wi
th Werner Hanak, of Vienna: Jews and the City of Music, 1870–1938 (2004). The music director of the American and the Jerusalem symphony orchestras, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt for Telarc, CRI, Koch, Arabesque, and New World Records.
Rachel Cowgill is senior lecturer in music and deputy director of the Centre for English Music (LUCEM) at the University of Leeds. Her research focuses on British musical cultures; Mozart reception; Italian opera; and gender, music, and performativity. Her work has been published in the Journal of the Royal Musical Association, Early Music, Cambridge Opera Journal, Musical Times, as well as in edited volumes from Ashgate, Berlin Verlag, and Oxford University Press. With Julian Rushton, she co-edited the collection Europe, Empire, and Spectacle in Nineteenth-Century British Music (Ashgate, 2006) and, with Peter Holman, Music in the British Provinces 1690–1914 (Ashgate, forthcoming). With Holman, Cowgill co-edits the book series, Music in Britain, 1600–1900. Cowgill has recently been appointed editor of the Journal of the Royal Musical Association and completed a book entitled Redeeming the Requiem: The Early English Reception of Mozart’s Last Work (Boydell & Brewer, forthcoming).
Sophie Fuller studied music at King’s College, London University, where she completed her doctoral thesis, “Women Composers during the British Musical Renaissance, 1880–1918.” For ten years she was a lecturer in music at the University of Reading and is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629–Present (1994) and co-editor of two collections of essays: with Lloyd Whitesell, Queer Episodes in Music and Modern Identity (University of Illinois Press, 2002); and with Nicky Losseff, The Idea of Music in Victorian Fiction (Ashgate, 2004). She currently teaches at Trinity College of Music, London, and serves on the editorial board of the journal twentieth-Century music.
Nalini Ghuman is an assistant professor of music at Mills College. She was awarded a Ph.D. in musicology from the University of California, Berkeley, where she was a Fellow of the Townsend Center for the Humanities. Ghuman was honored with an AMS 50 Alvin Johnson Dissertation Fellowship by the American Musicological Society. She is currently working on a book titled India in the English Musical Imagination, 1890–1940 and has a chapter in Western Music and Race edited by Julie Brown (Cambridge University Press, 2007).
Daniel M. Grimley is senior lecturer/associate professor in music at the University of Nottingham, and has published widely on Scandinavian music, Finnish music, the music of Edward Elgar, and music and landscape. He is editor of the Cambridge Companion to Sibelius (2004), and co-editor with Julian Rushton of the Cambridge Companion to Elgar (2004). Grimley recently completed a volume titled Grieg: Music, Landscape and Norwegian Identity (Boydell & Brewer, 2006). He was one of the organizers of the Elgar conference at Surrey University in April 2002. Future projects include a book on Nielsen and a study of music and landscape in Nordic music, 1890–1930.
Deborah Heckert was awarded a Ph.D. in musicology from Stony Brook University, where her dissertation explored the British revival of the masque in the nineteenth and early twentieth centuries. Her current research focuses on the Victorian music hall, on which subject Heckert has given papers at such conferences as the Annual Meeting of the American Musicological Society and the Conference of Music in Nineteenth-Century Britain. She has been a recipient of the Ralph Vaughan Williams Fellowship and of a fellowship from the Yale Center for British Art.
Charles Edward McGuire is associate professor of musicology at the Oberlin College Conservatory of Music. His research interests include the music of Edward Elgar and Ralph Vaughn Williams; the oratorio; sight-singing in the nineteenth century (especially the Tonic Sol-fa method); the links between music and politics and philanthropy; music and narrative; and film music. His has published articles in the journals 19th-Century Music and The Elgar Society Journal. McGuire has contributed extended essays to several volumes, including Vaughan Williams Essays (Ashgate, 2003), A Special Flame: The Music of Elgar and Vaughan Williams (Elgar Editions, 2004), The Cambridge Companion to Elgar (2004), Chorus and Community (University of Illinois Press, 2006), and Elgar Studies (Cambridge University Press, 2007). He is the author of Elgar’s Oratorios: The Creation of an Epic Narrative (Ashgate, 2000) and The People’s Music: The Curwens, Tonic Sol-fa and Victorian Moral Philanthropy.
Matthew Riley is lecturer in music at the University of Birmingham, where in 2005 he organized the centenary celebrations of Elgar’s appointment as the University’s first Professor of Music. He is author of Edward Elgar and the Nostalgic Imagination (Cambridge University Press, 2007) and various articles on the composer. His other research interests include music theory and analysis and musical thought in the decades around 1800.
Alison I. Shiel has a degree in music from the University of Aberdeen, Scotland, and a particular interest in the church music of Salzburg in the eighteenth century. She has produced several performing editions of the sacred music of Michael Haydn, and, as research assistant for the celebrated Haydn scholar H. C. Robbins Landon, worked on a complete edition of the Haydn string quartets. In 1996, Shiel’s scholarly investigations of the history of the Aberdeen Bach Choir awakened her interest in Charles Sanford Terry and Terry’s close friendship with Edward Elgar.
Aidan J. Thomson completed his Ph.D. thesis (a study of English and German reception of Elgar’s music before 1914) at Magdalen College, Oxford University, in 2002. He taught at the universities of both Oxford and Leeds before being appointed Lecturer in Music at Queen’s University, Belfast, in 2003. He has published articles and book chapters in 19th-Century Music, The Cambridge Companion to Elgar, and Elgar Studies, and is currently completing a monograph titled Demythologizing Elgar. Besides Elgar, his research interests include the Internationale Musikgesellschaft before 1914 and the music of Arnold Bax.
