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Edward Elgar and His World

Page 57

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.

 

 

 


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