Edward Elgar and His World (81 page)

Saturday Review, The

Sauer, Emil

Sawyer, F. J.

Scharrer, Irene

Schelling, Friedrich Wilhelm von

Schiller, Friedrich

Schoenberg, Arnold

Scholes, Peter

Schubart, Adolphe,
The Battle of Solomon

Schubert, Franz

Schultz-Curtius, Alfred

Schumann, Clara

Schumann, Robert

Schuster, Adela

Schuster, Leo Francis (Frank)

secularism

Seeger, Alan

semantic memory

Severn Grange

Severn House (Elgar home)

Sgambati, Giovanni,
Messa di Requiem

Shakespeare, William

Henry IV
plays

Henry V

Othello

The Tempest

Shankar, Uday,
Old Indian Dances

Shanks, Edward

Shaw, George Bernard

Shaw, Norman

Shedlock, J. S.

Sheldon, A. J.

Shelley, Percy Bysshe

“Julian and Maddalo”

Shera, F. H.

Shiel, Alison I.

Shinner Quartet

Shostakovich, Dimitri

Sibelius, Jean

Valse Triste

Sickert, Walter

The P.S. Wings in the O.P. Mirror

Vesta Victoria at the Bedford

Sinclair, George Robertson

Singer, Winaretta, Princesse de Polignac

Sisters of St. Paul

Sitwell, Osbert

Sketch, The

Smith, Maisie

Smollett, Tobias

Smyth, Ethel

Der Wald

Solomon, Edward,
The Nautch Girl

Solomon, Joan,
A Passion to Learn

Southgate, Thomas Lea

Spark, Frederick

Spectator, The

Spence-Jones, Dean H. D. M.

Spencer, Stanley,
The Resurrection of the Soldiers

Speyer, Antonia Kufferath

Speyer, Edgar

Speyer, Edward

Speyer, Leonora von Stosch

Squire, J. C.

Stainer, John

Standard, The

Stanford, Charles Villiers

Eden

Shamus O'Brien

Stabat Mater

Steuart-Powell, Hew David

Stoll, Oswald

Stoll Theater

Strand Magazine

Strauss, Richard

Ein Heldenleben

Sinfonia Domestica

Stravinsky, Igor

Streatfeild, R. A.

Stuart-Wortley, Alice

Stuart-Wortley, Charles

Sullivan, Sir Arthur

“About Music”

The Golden Legend

HMS Pinafore

In Memoriam

Iolanthe

The Tempest

Summerfield, Penny

Sunday Times
(London)

Sunderland Philharmonic Society

Sydney, Sir Philip,
Arcadia

symphonic poems

Tablet, The

Tasso, Tarquato

Taylor, Ronald

Tchaikovsky, Piotr Ilyich

Yevgeny Onegin

Vakula the Smith

Tennyson, Alfred Lord

Terry, Charles Sanford

Thomas, Arthur Goring

Thompson, Herbert

Thomson, Aidan, J.

Thomson, Arthur

Thoreau, Henry

Three Choirs (Gloucester) Festival

Times
(London)

Tinel, Edgar

“Tipperary”

Tolkien, J. R. R.

Tosti, Paolo

Tractarians

Trevelyan, George Macaulay

Trowell, Brian

Tulving, Endel

Uhland, Ludwig

Ultramontanism

University of Birmingham

Valois, Ninette de

van Dresser, Marcia, (
see
Dresser, Marcia van)

Vaughan Williams, Ralph

“What Have We Learnt from Elgar?”

Venanzi, Angelo

“Dance of the Bayadères”

Viardot, Pauline

Victoria, Queen

Virgil

Visetti, Alberto

Wagner, Richard

Götterdämmerung

Meistersinger

Parsifal

Siegfried

Tristan und Isolde

Walker, Ernest

A History of Music in England

Walsh, Caroline

Walton, William

Viola Concerto

Hindemith Variations

Warlock, Peter

Warrender, Sir George John Scott

Warrender, Lady Maud

Waterworth, Father William

“The Popes and the English Church”

Waugh, Evelyn,
Brideshead Revisited

Weaver, Helen

Webb, Frank

Weber, Max

Weekly Dispatch

Weingartner, Felix

Wellesley, Lord (Richard Colley Wesley)

Wells, H. G.

The History of Mr. Polly

Kipps

Love and Mr. Lewisham

Mr. Britling Sees It Through

The War That Will End Wars

Werner, Hildegard

Westminster Gazette

Weston, Robert P.

Westrup, Sir Jack

Whately, Richard, Archbishop of Dublin

Whinfield, E. W.

White, Maude Valérie

“The Devout Lover”

Whitehall, Harold,
Tyneside Hymn of Hate

Whitman, Walt

Wilde, Oscar

Wilson, J. Dover

Winckelmann, Johann Joachim

Winnington-Ingram, Arthur Foley

Winnowing-Fan: Poems of the Great War, The
(Binyon)

“For the Fallen”

“The Fourth of August”

“To Goethe”

“To Women”

Wolfrum, Dr. Philipp

Christmas Mystery

Wolzogen, Hans von,
Handbücher

Wood, Henry

Woodforde-Finden, Amy, ‘Kashmiri Song'

Worcester

Worcester Amateur Instrumental Society

Worcester Cathedral

Elgar Window

Worcester Glee Club

Worcester Philharmonic (Society)

World, The

World War I

World War II

Worthington, Julia “Pippa”

Yastrebtsev, V. V.

Yates, Nigel

Yorke, Alexander

Yorkshire Post

Young, Percy M.

“Young England” circle

“Your King and Country Need You”

Ysaÿe, Eùgene

Zeitschrift der internationlen Musikgesellschaft

Zemlinsky, Alexander

Zweig, Stefan

Notes on the Contributors

Byron Adams,
professor of composition and musicology at the University of California, Riverside, has been published widely on English music and has broadcast over the BBC. He is co-editor of
Vaughan Williams Essays
, and contributed entries on William Walton and Sylvia Townsend Warner to the second edition of the revised
New Grove Dictionary of Music and Musicians
. His articles, reviews, and essays have appeared in journals such as
19th-Century Music, Music and Letters
, and the
John Donne Journal
and have been included in volumes such as
Queer Episodes in Music and Modern Identity
(University of Illinois Press, 2002),
The Cambridge Companion to Elgar
(2004), and
Walt Whitman and Modern Music
(Garland, 2000). In 2000, he was presented with the Philip Brett Award by the American Musicological Society.

Leon Botstein
is president and Leon Levy Professor in the Arts and Humanities at Bard College. He is the author of
Judentum und Modernität
(1991) and
Jefferson's Children: Education and the Promise of American Culture
(1997). He is the editor of
The Compleat Brahms
(1999) and
The Musical Quarterly
, as well as coeditor, with Werner Hanak, of
Vienna: Jews and the City of Music, 1870–1938
(2004). The music director of the American and the Jerusalem symphony orchestras, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt for Telarc, CRI, Koch, Arabesque, and New World Records.

Rachel Cowgill
is senior lecturer in music and deputy director of the Centre for English Music (LUCEM) at the University of Leeds. Her research focuses on British musical cultures; Mozart reception; Italian opera; and gender, music, and performativity. Her work has been published in the
Journal of the Royal Musical Association, Early Music, Cambridge Opera Journal, Musical Times
, as well as in edited volumes from Ashgate, Berlin Verlag, and Oxford University Press. With Julian Rushton, she co-edited the collection
Europe, Empire, and Spectacle in Nineteenth-Century British Music
(Ashgate, 2006) and, with Peter Holman,
Music in the British Provinces 1690–1914
(Ashgate, forthcoming). With Holman, Cowgill co-edits the book series, Music in Britain, 1600–1900. Cowgill has recently been appointed editor of the
Journal of the Royal Musical Association
and completed a book entitled
Redeeming the Requiem: The Early English Reception of Mozart's Last Work
(Boydell & Brewer, forthcoming).

Sophie Fuller
studied music at King's College, London University, where she completed her doctoral thesis, “Women Composers during the British Musical Renaissance, 1880–1918.” For ten years she was a lecturer in music at the University of Reading and is the author of
The Pandora Guide to Women Composers: Britain and the United States, 1629–Present
(1994) and co-editor of two collections of essays: with Lloyd Whitesell,
Queer Episodes in Music and Modern Identity
(University of Illinois Press, 2002); and with Nicky Losseff,
The Idea of Music in Victorian Fiction
(Ashgate, 2004). She currently teaches at Trinity College of Music, London, and serves on the editorial board of the journal
twentieth-Century music.

Nalini Ghuman
is an assistant professor of music at Mills College. She was awarded a Ph.D. in musicology from the University of California, Berkeley, where she was a Fellow of the Townsend Center for the Humanities. Ghuman was honored with an AMS 50 Alvin Johnson Dissertation Fellowship by the American Musicological Society. She is currently working on a book titled
India in the English Musical Imagination, 1890–1940
and has a chapter in
Western Music and Race
edited by Julie Brown (Cambridge University Press, 2007).

Daniel M. Grimley
is senior lecturer/associate professor in music at the University of Nottingham, and has published widely on Scandinavian music, Finnish music, the music of Edward Elgar, and music and landscape. He is editor of the
Cambridge Companion to Sibelius
(2004), and co-editor with Julian Rushton of the
Cambridge Companion to Elgar
(2004). Grimley recently completed a volume titled
Grieg: Music, Landscape and Norwegian Identity
(Boydell & Brewer, 2006). He was one of the organizers of the Elgar conference at Surrey University in April 2002. Future projects include a book on Nielsen and a study of music and landscape in Nordic music, 1890–1930.

Deborah Heckert
was awarded a Ph.D. in musicology from Stony Brook University, where her dissertation explored the British revival of the masque in the nineteenth and early twentieth centuries. Her current research focuses on the Victorian music hall, on which subject Heckert has given papers at such conferences as the Annual Meeting of the American Musicological Society and the Conference of Music in Nineteenth-Century Britain. She has been a recipient of the Ralph Vaughan Williams Fellowship and of a fellowship from the Yale Center for British Art.

Charles Edward McGuire
is associate professor of musicology at the Oberlin College Conservatory of Music. His research interests include the music of Edward Elgar and Ralph Vaughn Williams; the oratorio; sight-singing in the nineteenth century (especially the Tonic Sol-fa method); the links between music and politics and philanthropy; music and narrative; and film music. His has published articles in the journals
19th-Century Music
and
The Elgar Society Journal
. McGuire has contributed extended essays to several volumes, including
Vaughan Williams Essays
(Ashgate, 2003),
A Special Flame: The Music of Elgar and Vaughan Williams
(Elgar Editions, 2004),
The Cambridge Companion to Elgar
(2004),
Chorus and Community
(University of Illinois Press, 2006), and
Elgar Studies
(Cambridge University Press, 2007). He is the author of
Elgar's Oratorios: The Creation of an Epic Narrative
(Ashgate, 2000) and
The People's Music: The Curwens, Tonic Sol-fa and Victorian Moral Philanthropy.

Matthew Riley
is lecturer in music at the University of Birmingham, where in 2005 he organized the centenary celebrations of Elgar's appointment as the University's first Professor of Music. He is author of
Edward Elgar and the Nostalgic Imagination
(Cambridge University Press, 2007) and various articles on the composer. His other research interests include music theory and analysis and musical thought in the decades around 1800.

Alison I. Shiel
has a degree in music from the University of Aberdeen, Scotland, and a particular interest in the church music of Salzburg in the eighteenth century. She has produced several performing editions of the sacred music of Michael Haydn, and, as research assistant for the celebrated Haydn scholar H. C. Robbins Landon, worked on a complete edition of the Haydn string quartets. In 1996, Shiel's scholarly investigations of the history of the Aberdeen Bach Choir awakened her interest in Charles Sanford Terry and Terry's close friendship with Edward Elgar.

Aidan J. Thomson
completed his Ph.D. thesis (a study of English and German reception of Elgar's music before 1914) at Magdalen College, Oxford University, in 2002. He taught at the universities of both Oxford and Leeds before being appointed Lecturer in Music at Queen's University, Belfast, in 2003. He has published articles and book chapters in
19th-Century Music, The Cambridge Companion to Elgar
, and
Elgar Studies
, and is currently completing a monograph titled
Demythologizing Elgar
. Besides Elgar, his research interests include the Internationale Musikgesellschaft before 1914 and the music of Arnold Bax.