Contents

pp v-vi

List of Illustrations

pp vii-x

List of Music Examples

pp xi-xii

List of Contributors

pp xiii-xvi

Acknowledgements

pp xvii-xviii

List of Abbreviations

pp xix-xx

Note to the Reader

pp xxi-xxii

Introduction

pp 1-6

Part I - Performers and Performance Style

pp 7-8

1 - Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s

pp 9-31

2 - Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra

pp 32-53

3 - Thomas Vincent (1723–1798): Oboist, Composer, and Entrepreneur

pp 54-71

4 - J.C. Bach and the ‘true Organ Style’: Propriety and Impropriety in Eighteenth-Century English Organ Music

pp 72-88

Part II - Composers and Secular Institutions

pp 89-90

5 - Henry Purcell’s Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century

pp 91-105

6 - From ‘Fowle Originall’ to ‘Printed for the Author’: The Autograph Score of William Croft’s ‘Laurus cruentas’

pp 106-128

7 - James Lates of Oxford and his Sixteen Minuets

pp 129-142

8 - William Hayes (1708–1777), Professor of Music

pp 143-164

Part III - Sacred Music and Institutions

pp 165-166

9 - Music and Musicians at Westminster Abbey, 1685–1760

pp 167-182

10 - Catholic Church Music in Eighteenth-Century Britain

pp 183-198

11 - Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I

pp 199-222

Part IV - Dissemination: Copying, Printing, and Publishing

pp 223-224

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’

pp 225-239

13 - The Earliest Surviving Engraved Music Plates?

pp 240-262

Epilogue: Musica Britannica and the Eighteenth Century

pp 263-276

Harry Diack Johnstone: A Tribute

pp 277-278

Bibliography of the Publications of Harry Diack Johnstone

pp 279-282

Index

pp 283-290