The latest edition of NABMSA Reviews is now out and can be accessed at
North American British Music Studies Association
compiled by Jennifer Oates
Journal of Film Music, Vol. 5, Nos. 1-2, is a special double issue in memoriam to Anne Dhu McLucas. Seventeen articles from the “From Nineteenth-Century Stage Melodrama to Twenty-First Century Film Scoring: Musicodramatic Practice and Knowledge Organization” conference held at California State University, Long Beach, in 2012.
Scottish Journal of Performance (http://www.scottishjournalofperformance.org/) is an open-access, peer-reviewed journal managed by doctoral students and published by The Royal Conservatoire of Scotland in Glasgow. The board consist of faculty members from the Royal Conservatoire and the University of Edinburgh. The journal’s goal is “to promote and stimulate discussion, development and dissemination of original research” on Scottish performance, Scottish music, or research by Scottish scholars and artists. The first two issues are available via the journal’s website.
Bernard Hughes, Bernard. “Sound Judgment: Piers Hellawell in Interview.” Tempo 68 (October 2014): 48-56.
“In Memoriam: Malcolm MacDonald (1948-2014).” Tempo 68 (October 2014): 68-73.
Johnstone, H. Diack. “Westminster Abbey and the Academy of Ancient Music: A Library once Lost and now Partially Recovered.” Music and Letters 95/3 (August 2014): 329-373.
McGuire, Charles Edward. “John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival.” Nineteenth-Century Music Review 11/1 (June 2014): 3-31.
Rogers, Vanessa L. “John Gay, Ballad Opera and the Théâtres de la foire.” Eighteenth-Century Music, 11/2 (September 2014): 173-213.
Scheer, Christopher. “The Importance of Cheltenham: Imperialism, Liminality and Gustav Holst.” Journal of Victorian Culture 19/3 (2014): 365-82.
Taylor, Benedict. “The Triumph in the Eighteenth Century: Handel’s Il Trionfo del Tempo and Historical Conceptions of Musical Temporality.” Eighteenth-Century Music, 11/2 (September 2014): 257-281.
Whitehead, Lance. “Three London Harpsichord Makers: Slade, Mahoon, and Hitchcock.” Keyboard Perspectives 6 (2013).
Windram, Heather F., Terence Charlston, and Christopher J. Howe. “A Phylogenetic Analysis of Orlando Gibbons’s Prelude in G.” Early Music 42/4 (November 2014): 515-28.
Winkler, Amanda Eubanks. “Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera.” Cambridge Opera Journal 26/3 (November 2014): 271–287.
Frogley, Alain and Aidan J. Thomson. The Cambridge Companion to Vaughan Williams. New York: Cambridge University Press, 2013.
Herissone, Rebecca. Musical Creativity in Restoration England. Cambridge; New York: Cambridge University Press, 2013.
Rodmell, Paul. Opera in the British Isles, 1875-1918. Farnham, Surrey; Burlington, VT: Ashgate, 2013.
Seddon, Laura. British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. Farnham, Surrey; Burlington, VT: Ashgate, 2013.
Birtwistle, Harrison. Oboe Quartet. For Oboe, Violin, Viola, and Cello. London: Boosey, 2013.
Britten, Benjamin. Collected Songs, High Voice (63 Songs). Edited by Richard Walters. London: Boosey, 2013.
Britten, Benjamin. Collected Songs, Medium/Low Voice (60 Songs). Edited by Richard Walters. London: Boosey, 2013.
Britten, Benjamin. Six Early Songs (1929-31), Medium Voice. London: Faber Music, 2013.
Britten, Benjamin. Three songs for Les Illuminations. Words by Arthur Rimbaud. Orchestra for High Voice and Strings by Colin Matthews. Full Score. London: Boosey, 2013.
Britten, Benjamin. Two Pieces for Violin, Viola, and Piano (1929). London: Faber, 2013.
Britten, Benjamin. Two Psalms: Out of the Deep; Praise Ye the Lord. Full Score. London: Chester, 2013.
Britten, Benjamin. Two Psalms for SATB Chorus and Orchestra. Vocal Score. London: Chester, 2013.
Britten, Benjamin. Variations for Piano (1965). London: Faber, 2013.
Davies, Peter Maxwell. Orkney Saga V: Westerly Gale in Biscay, Salt in the Bread Broken. For Orchestra and Chorus (SATB). London: Boosey, 2013.
English Keyboard Music c. 1600-1625. Edited by Alan Brown. Musica Britannica, v. 96. London: Stainer, 2014.
Fifteenth-Century Liturgical Music VIII: Settings of the Gloria and Credo. Transcribed and Edited by Peter Wright. Early English Church Music, v. 55. London: Published for the British Academy by Stainer & Bell, 2013.
Vaughan Williams, Ralph. Bucolic Suite. Edited by Julian Rushton. Study Score. Oxford: Oxford, 2012.
Vaughan Williams, Ralph. Burley Heath. Edited by James Francis Brown. Study Score. Oxford: Oxford, 2013.
Vaughan Williams, Ralph. Fantasia for Piano and Orchestra. Edited by Graham Parlett. Study Score. Oxford: Oxford, 2013.
Vaughan Williams, Ralph. Harnham Down. Edited by James Francis Brown. Study Score. Oxford: Oxford, 2013.
Vaughan Williams, Ralph. Serenade in A Minor (1898). Edited by Julian Rushton. Study Score. Oxford: Oxford, 2012.
Vaughan Williams, Ralph. The Solent. Edited by James Francis Brown. Study Score. Oxford: Oxford, 2013.
Elgar, Edward. Enigma Variations. DVD. Leonard Bernstein/BBC Symphony Orchestra. Directed by Peter Butler and Humphrey Burton. [London]: ICA Classics, 2013. ICAD 5098.
“Nettle Tea and a Trunk Full of Documents” by Christina Bashford (below) was first published in January 2008 on the Boydell and Brewer blog, following the publication of her monograph, The Pursuit of High Culture: John Ella and Chamber Music in Victorian London. I thank her for suggesting this article for the NABMSA blog’s new series “Stories from the Archives” and for allowing NABMSA to re-post the story. If you have archival stories of your own that you would like to share, please send them my way.
Nettle Tea and a Trunk Full of Documents
Meanwhile John Ravell became thrilled that I was pursuing this line of research, the more so when I told him I had decided to write a definitive biography of Ella once my PhD was completed. A book on Ella had been something he had always wanted to see – the true recognition of Ella’s importance – but he had latterly come to realize he would never write it himself. Now, nearly twenty years later the Ella papers are safely housed in Oxford University libraries and I have finally finished the book I promised John Ravell such a long while ago. Unfortunately, Mr Ravell has not lived to see the completed product. I regret that intensely, because it would have given him great pleasure to see John Ella’s significance recognized on the bookshelf. For like John Ella, John Ravell was a quite exceptional and visionary man.