In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn are vestiges of one of the most distinctive trends in antebellum music-making. Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America's most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe's rich musical practices.

A real-life Talented Mr. Ripley, the unbelievable thirty-year run of a shape-shifting con man. The story of Clark Rockefeller is a stranger-than-fiction twist on the classic American success story of the self-made man-because Clark Rockefeller was totally made up. The career con man who convincingly passed himself off as Rockefeller was born in a small village in Germany. At seventeen, obsessed with getting to America, he flew into the country on dubious student visa documents and his journey of deception began. Over the next thirty years, boldly assuming a series of false identities, he moved up the social ladder through exclusive enclaves on both coasts-culminating in a stunning twelve-year marriage to a rising star businesswoman with a Harvard MBA who believed she'd wed a Rockefeller. The imposter charmed his way into exclusive clubs and financial institutions-working on Wall Street, showing off an extraordinary art collection-until his marriage ended and he was arrested for kidnapping his daughter, which exposed his past of astounding deceptions as well as a connection to the bizarre disappearance of a California couple in the mid-1980s. The story of The Man in the Rockefeller Suit is a probing and cinematic exploration of an audacious imposer-and a man determined to live the American dream by any means necessary.

Roman Catholic church music in England served the needs of a vigorous, vibrant and multi-faceted community that grew from about 70,000 to 1.7 million people during the long nineteenth century. Contemporary literature of all kinds abounds, along with numerous collections of sheet music, some running to hundreds, occasionally even thousands, of separate pieces, many of which have since been forgotten. Apart from compositions in the latest Classical Viennese styles and their successors, much of the music performed constituted a revival or imitation of older musical genres, especially plainchant and Renaissance Polyphony. Furthermore, many pieces that had originally been intended to be performed by professional musicians for the benefit of privileged royal, aristocratic or high ecclesiastical elites were repackaged for rendition by amateurs before largely working or lower middle class congregations, many of them Irish. However, outside Catholic circles, little attention has been paid to this subject. Consequently, the achievements and widespread popularity of many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) within the English Catholic community have passed largely unnoticed. Worse still, much of the evidence is rapidly disappearing, partly because it no longer seems relevant to the needs of the modern Catholic Church in England. This book provides a framework of the main aspects of Catholic church music in this period, showing how and why it developed in the way it did. Dr Muir sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism. As a result the book will appeal not only to scholars and students working in the field, but also to church musicians, liturgists, historians, ecclesiastics and other interested Catholic and non-Catholic parties.