Stephen Rose challenges contemporary critical views that de-emphasize the role of the composer by showing that performers and composers were understood as occupying two separate spheres, blurring the line of authorial primacy.
We learn not only about Alfred Deller’s remarkable career in Christine Headley’s wonderful book, ‘Sound the Trumpet,’ but also about the Stour Music Festival, with which he was so closely associated.
Robert L. Marshall’s collection draws together essays written over some 30 years, presenting a carefully curated mélange of the best of the author’s old and new work.
David Yearsley’s ‘Sex, Death, and Minuets: Anna Magdalena Bach and Her Musical Notebooks’ is a comprehensive study of the two famous Clavier-Büchlein that belonged to J. S. Bach’s second wife and eventual widow.
Berta Joncus’ brilliant new book compels us to imagine London’s rich musical scene through the eyes and voice of one of the 18th century’s most extraordinary performers: Kitty Clive.
Viewing Sir Henry Wood as an unappreciated figure in the “Bach revival” movement, Hannah French has industriously researched the scores and orchestral parts of the Bach works belonging to the conductor and used for his performances.
The Czech-born harpsichordist Zuzana Růžičková (1927-2017) recounted her amazing life in ‘One Hundred Miracles: A Memoir of Music and Survival,’ written with Wendy Holden.
Martha Elliott is excellent in discussing how to read Baroque scores, closely comparing various published versions (including facsimile, early publication, 19th-century edition, and complete works edition) of a single piece.
The magisterial multi-volume set of Handel documents put together by Donald Burrows and the distinguished Handel scholars Helen Coffey, John Greenacombe, and the late Anthony Hicks promises to include just about everything written about, by, to, and for Handel.
‘The Boston School of Harpsichord Building: William Dowd, Eric Herz and Frank Hubbard, Personal Reminiscences by the People Who Knew and Worked with Them’ tells the story of an early-music revolution, the re-revival of the historical harpsichord.