The extensive journals of the English gentleman composer John Marsh, which cover the period from 1752-1828, represent one the most important musical and social documents of the period to have hitherto remained unpublished. Drawing on the recently discovered original (Now in the Huntington Library, San Marino, California), the selection covers the first fifty years of Marsh's life, a period of intense musical activity in the southern cathedral cities of Salisbury, Canterbury and Chichester. But Marsh was far more than a provincial composer and music director; the journals also cast much valuable light on musical life in London-his account of the great Handel Commemoration of 1784 is without parallel for its colorful evocation of the huge event. A lively interest in a wide range of topics gives the journals a scope rare in the writings of a musician and the volume will be of indispensable value not only to the musical but also thesocial historian. The unfailingly vital and often witty writing also ensures considerable appeal to the more general reader with an interest in an eventful period of English history. The volume has been comprehensively annotated and includes illustrations and contemporary maps in addition to the first complete published listing of Marsh's compositions and writings.

Correspondence.

John Muir, America's pioneer conservationist and father of the national park system, was a man of considerable literary talent. As he explored the wilderness of the western part of the United States for decades, he carried notebooks with him, narrating his wanderings, describing what he saw, and recording his scientific researches. This reprint of his journals, edited by Linnie Marsh Wolfe in 1938 and long out of print, offers an intimate picture of Muir and his activities during a long and productive period of his life. The sixty extant journals and numerous notes in this volume were written from 1867 to 1911. They start seven years after the time covered in The Story of My Boyhood and Youth, Muir's uncompleted autobiography. The earlier journals capture the essence of the Sierra Nevada and Alaska landscapes. The changing appearance of the Sierras from Sequoia north and beyond the Yosemites enthralled Muir, and the first four years of the journals reveal his dominating concern with glacial action. The later notebooks reflect his changes over the years, showing a mellowing of spirit and a deep concern for human rights. Like all his writings, the journals concentrate on his observations in the wilderness. His devotion to his family, his many warm friendships, and his many-sided public life are hardly mentioned. Very little is said about the quarter-century battle for national parks and forest reserves. The notebooks record, in language fuller and freer than his more formal writings, the depth of his love and transcendental feeling for the wilderness. The rich heritage of his native Scotland and the unconscious music of the poetry of Burns, Milton, and the King James Bible permeate the language of his poetic fancy. In his later life, Muir attempted to sort out these journals and, at the request of friends, published a few extracts. A year after his death in 1914, his literary executor and biographer, William Frederick Badè, also published episodes from the journals. Linnie Marsh Wolfe set out to salvage the best of his writings still left unpublished in 1938 and has thus added to our understanding of the life and thought of a complex and fascinating American figure.

The music of Johann Sebastian Bach, George Frederic Handel and Domenico Scarlatti received more performances, publications and appreciation in Britain between 1750–1850 than in any other country during this era. The compositions of these three seminal baroque composers were heard in the numerous public and private concerts that proliferated at this time; edited, arranged and published for professionals and amateurs; written about by scholars and journalists; and used as teaching pieces and in pedagogical treatises. This Element examines the reception of their music during this dynamic period in British musical history, and places the discussion within the context of the artistic, cultural, economic, and political factors that stimulated such passionate interest in 'ancient music.' It also offers a vivid picture of the aesthetic concerns of those musicians and audiences involved with this repertoire, providing insights that help us better understand our own encounters with music of the past.

Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley is the first book to focus upon aspects of performance in the broader context of nineteenth-century British musical culture. In four Parts, 'Musical Cultures', 'Societies', 'National Music' and 'Methods', this volume assesses the role music performance plays in articulating significant trends and currents of the cultural life of the period and includes articles on performance and individual instruments; orchestral and choral ensembles; church and synagogue music; music societies; cantatas; vocal albums; the middle-class salon, conducting; church music; and piano pedagogy. An introduction explores Temperley's vast contribution to musicology, highlighting his seminal importance in creating the field of nineteenth-century British music studies, and a bibliography provides an up-to-date list of his publications, including books and monographs, book chapters, journal articles, editions, reviews, critical editions, arrangements and compositions. Fittingly devoted to a significant element in Temperley's research, this book provides scholars of all nineteenth-century musical topics the opportunity to explore the richness of Britain's musical history.

This book explores the cultural life of Italian opera in late eighteenth-century London. Through primary sources, many analysed for the first time, Ian Woodfield examines such issues as finances, recruitment policy, handling of singers and composers, links with Paris and Italy, and the role of women in opera management.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

A history of the English music festival is long overdue. Dr Pippa Drummond argues that these festivals represented the most significant cultural events in provincial England during the nineteenth century and emphasizes their particular importance in the promotion and commissioning of new music. Drawing on material from surviving accounts, committee records, programmes, contemporary pamphlets and reviews, Drummond shows how the festivals responded to and reflected the changing social and economic conditions of their day. Coverage includes a chronological overview documenting the history of individual festivals followed by a detailed exploration of such topics as performers and performance practice, logistics and finance, programmes and commissioning, together with information concerning the composition and provenance of festival choirs and orchestras. Also discussed are the effects of improved transport and new technologies on the festivals, sacred and secular conflicts, gender issues, the role of philanthropy, the nature of patronage and the changing social status of festival audiences. The book will also be of interest to social, economic and local historians.