British Music, Musicians and Institutions, C. 1630-1800 : Essays in Honour of Harry Diack Johnstone

British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions. **Table of Contents** Introduction - __Peter Lynan and Julian Rushton__ **Part I. Performers and Performance Style** 1. Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s - __Peter Holman__2. Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra - __Simon McVeigh__ 3. Thomas Vincent (1723-1798): Oboist, Composer, and Entrepreneur - __Michael Talbot__ 4. J. C. Bach and the 'true Organ Style': Propriety and Impropriety in Eighteenth-Century English Organ Music - __Peter Lynan__ **Part II. Composers and Secular Institutions** 5. Henry Purcell's Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century - __Olive Baldwin and Thelma Wilson__ 6. From 'Fowle Originall' to 'Printed for the Author': The Autograph Score of William Croft's 'Laurus cruentas' - __Alan Howard__ 7. James Lates of Oxford and his Sixteen Minuets - __Susan Wollenberg__ 8. William Hayes (1708-1777), Professor of Music - __Simon Heighes__ **Part III. Sacred Music and Institutions** 9. Music and Musicians at Westminster Abbey, 1685-1760 - __Tony Trowles__ 10. Catholic Church Music in Eighteenth-Century Britain - __John Caldwell__ 11. Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I - __Jonathan P. Wainwright__ **Part IV. Dissemination: Printing and Publishing** 12. 'You can't have it of Smith except you'll have it wrote out on Purpose': Eighteenth-Century Copyists of Handel's Music in London and the 'Smith Scriptorium' - __Donald Burrows__ 13. The Earliest Surviving Engraved Music Plates? - __Peter Ward Jones and Kelly Domoney__ Epilogue: __Musica Britannica__ and the Eighteenth Century - __Julian Rushton__ Harry Diack Johnstone: A Tribute Bibliography of the Works of Harry Diack Johnstone Index British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions. Table of Contents Introduction - Peter Lynan and Julian Rushton Part I. Performers and Performance Style 1. Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s - Peter Holman 2. Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra - Simon McVeigh 3. Thomas Vincent (1723-1798): Oboist, Composer, and Entrepreneur - Michael Talbot 4. J. C. Bach and the 'true Organ Style': Propriety and Impropriety in Eighteenth-Century English Organ Music - Peter Lynan Part II. Composers and Secular Institutions 5. Henry Purcell's Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century - Olive Baldwin and Thelma Wilson 6. From 'Fowle Originall' to 'Printed for the Author': The Autograph Score of William Croft's 'Laurus cruentas' - Alan Howard 7. James Lates of Oxford and his Sixteen Minuets - Susan Wollenberg 8. William Hayes (1708-1777), Professor of Music - Simon Heighes Part III. Sacred Music and Institutions 9. Music and Musicians at Westminster Abbey, 1685-1760 - Tony Trowles 10. Catholic Church Music in Eighteenth-Century Britain - John Caldwell 11. Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I - Jonathan P. Wainwright Part IV. Dissemination: Printing and Publishing 12. 'You can't have it of Smith except you'll have it wrote out on Purpose': Eighteenth-Century Copyists of Handel's Music in London and the 'Smith Scriptorium' - Donald Burrows 13. The Earliest Surviving Engraved Music Plates? - Peter Ward Jones and Kelly Domoney Epilogue: Musica Britannica and the Eighteenth Century - Julian Rushton Harry Diack Johnstone: A Tribute Bibliography of the Works of Harry Diack Johnstone Index Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions.British music in the era from the death of Henry Purcell to the so-called'Musical Renaissance'of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions. British Music, Musicians and Institutions, c.1630-1800 Contents Illustrations Music Examples Contributors Acknowledgements Abbreviations Note to the Reader Introduction Part I: Performers and Performance Style Henry, Elizabeth, and George Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra Thomas Vincent (1723-1798) J.C. Bach and the ‘true Organ Style’ Part II: Composers and Secular Institutions Henry Purcell’s Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century From ‘Fowle Originall’ to ‘Printed for the Author’ James Lates of Oxford and his Sixteen Minuets William Hayes (1708-1777), Professor of Music Part III: Sacred Music and Institutions Music and Musicians at Westminster Abbey, 1685-1760 Catholic Church Music in Eighteenth-Century Britain Precedents for the Symphony Anthem Part IV: Dissemination: Copying, Printing, and Publishing ‘You can’t have it of Smith except you’ll have it wrote out on Purpose’ The Earliest Surviving Engraved Music Plates? Epilogue: Musica Britannica and the Eighteenth Century Harry Diack Johnstone: A Tribute Bibliography of the Publications of Harry Diack Johnstone Index Tabula Gratulatorium