Peter Holman – författare

John Jenkins (1592-1678) was acknowledged by his English contemporaries as a supreme composer of instrumental music. A conference held in 1992 to commemorate the four-hundredth anniversary of his birth, rather than focusing only on his life and work, set these in a wider context. Some of the papers included here were first presented at the conference, but are supplemented by others giving a broad conspectus of current work by leading scholars in the field of English consort music. The collection embraces various aspects not only of Jenkin's work, but also some of his contemporaries (Gibbons, Ferrabosco II, Mico, Cobbold), instruments (lute, lyre, viol, organ), and consort manuscripts, including their patrons and copyists.

Dowland's Lachrimae (1604) is perhaps the greatest but most enigmatic publication of instrumental music from before the eighteenth century. This new handbook, the first detailed study of the collection, investigates its publication history, its instrumentation, its place in the history of Renaissance dance music, and its reception history. Two extended chapters examine the twenty-one pieces in the collection in detail, discussing the complex internal relationships between the cycle of seven 'Lachrimae' pavans, the relationships between them and other pieces inside and outside the collection, and possible connections between the Latin titles of the seven pavans and Elizabethan conceptions of melancholy. The extraordinarily multi-faceted nature of the collection also leads the author to illuminate questions of patronage, the ordering and format of the collection, pitch and transposition, tonality and modality, and even numerology.

Dowland's Lachrimae (1604) is perhaps the greatest but most enigmatic publication of instrumental music from before the eighteenth century. This new handbook, the first detailed study of the collection, investigates its publication history, its instrumentation, its place in the history of Renaissance dance music, and its reception history. Two extended chapters examine the twenty-one pieces in the collection in detail, discussing the complex internal relationships between the cycle of seven 'Lachrimae' pavans, the relationships between them and other pieces inside and outside the collection, and possible connections between the Latin titles of the seven pavans and Elizabethan conceptions of melancholy. The extraordinarily multi-faceted nature of the collection also leads the author to illuminate questions of patronage, the ordering and format of the collection, pitch and transposition, tonality and modality, and even numerology.

Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'.

The 300th anniversary of Henry Purcell's death in 1995 stimulated a good deal of new research into his music, its sources, performance, reception and cultural context. The 23 articles in this volume have been chosen by Peter Holman as a representative selection of the best scholarly writing over the last few decades, featuring most of the leading Purcell scholars, including Curtis Price, Robert Thompson, Robert Shay, Bruce Wood, Rebecca Herissone, and Christopher Hogwood, though it also includes some earlier classic articles, by Michael Tilmouth, Richard Luckett, Margaret Laurie and others. The four sections are 'Biography and Contexts', 'Sources, Editing and Publishing', 'Styles, Genres and Compositional Process', and 'Performance, Performance Practice and Reception'. Peter Holman's introduction explores the history of Purcell scholarship, reviews its present state, comments on the significance of the articles, and offers a prospect for the future.

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.

The 300th anniversary of Henry Purcell's death in 1995 stimulated a good deal of new research into his music, its sources, performance, reception and cultural context. The 23 articles in this volume have been chosen by Peter Holman as a representative selection of the best scholarly writing over the last few decades, featuring most of the leading Purcell scholars, including Curtis Price, Robert Thompson, Robert Shay, Bruce Wood, Rebecca Herissone, and Christopher Hogwood, though it also includes some earlier classic articles, by Michael Tilmouth, Richard Luckett, Margaret Laurie and others. The four sections are 'Biography and Contexts', 'Sources, Editing and Publishing', 'Styles, Genres and Compositional Process', and 'Performance, Performance Practice and Reception'. Peter Holman's introduction explores the history of Purcell scholarship, reviews its present state, comments on the significance of the articles, and offers a prospect for the future.

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.

Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'.

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How was large-scale music directed or conducted in Britain before baton conducting took hold in the 1830s?This book investigates the ways large-scale music was directed or conducted in Britain before baton conducting took hold in the 1830s. After surveying practice in Italy, Germany and France from Antiquity to the eighteenth century,the focus is on direction in two strands of music making in Stuart and Georgian Britain: choral music from Restoration cathedrals to the oratorio tradition deriving from Handel, and music in the theatre from the Jacobean masque to nineteenth-century opera, ending with an account of how modern baton conducting spread in the 1830s from the pit of the Haymarket Theatre to the Philharmonic Society and to large-scale choral music. Part social and musical history based on new research into surviving performing material, documentary sources and visual evidence, and part polemic intended to question the use of modern baton conducting in pre-nineteenth-century music, Before the Baton throws new light on many hitherto dark areas, though the heart of the book is an extended discussion of the evidence relating to Handel's operas, oratorios and choral music. Contrary to near-universal modern practice, he mostly preferred to play rather than beat time.

This stimulating guide will help students and their teachers to achieve stylish performances of music of the Baroque period. Individual chapters from leading experts focus on historical background, notation and interpretation, and sources and editions, presenting the latest thinking on performance in a clear, helpful and practical way. There are also dedicated chapters of specialist advice for keyboard, string and wind players, and singers, plus a recommended playlist of illustrative, authoritative recordings. Fully illustrated throughout with many music examples, facsimiles and pictures, this is a valuable resource for students of the Baroque period which will also add to the knowledge and understanding of amateur and professional musicians.

Ground breaking and comprehensive reference volume covering an extensive range of Purcell studies, including his life and works, his milieu and the reception of his music to the present.In the 30 years since the Tercentenary of Purcell's death in 1995 research into him and the musical culture of Restoration England has developed rapidly. Even the most authoritative books published then are now seriously out of date, and no-one since then has attempted to cover the whole range of Purcell studies. The book is largely taken up with A-Z dictionary entries, preceded by an up-to-date biography and followed by a work-list and bibliography. The dictionary includes entries for many of Purcell's works; the genres he contributed to; the titles and terms he used; the instruments he wrote for; the most important manuscript and printed sources of his music; and some pressing performance practice issues.Important threads are devoted to people associated with Purcell, including earlier composers who influenced him; his fellow composers; his pupils and followers; those who provided him with texts to set; his patrons and employers; the most important copyists, publishers and instrument makers associated with him; and those contemporaries who wrote about him. The book breaks new ground by giving particular emphasis to his performers, including the most prominent singers and dancers he worked with; and the individuals and institutions responsible for maintaining (or sometimes altering) his legacy up to the present.

New research throws light on the history of the viol after Purcell, including its revival in the late eighteenth century through Charles Frederick Abel.It is normally thought that the bass viol or viola da gamba dropped out of British musical life in the 1690s, and that Henry Purcell was the last composer to write for it. Peter Holman shows how the gamba changed its role and function in the Restoration period under the influence of foreign music and musicians; how it was played and composed for by the circle of immigrant musicians around Handel; how it was part of the fashion for exotic instruments in themiddle of the century; and how the presence in London of its greatest eighteenth-century exponent, Charles Frederick Abel, sparked off a revival in the 1760s and 70s.Later chapters investigate the gamba's role as an emblem of sensibility among aristocrats, artists, and intellectuals, including the Countess of Pembroke, Sir Edward Walpole, Ann Ford, Laurence Sterne, Thomas Gainsborough and Benjamin Franklin, and trace Abel's influence and legacy far into the nineteenth century. A concluding chapter is concerned with its role in the developing early music movement, culminating with Arnold Dolmetsch's first London concerts with old instruments in 1890. PETER HOLMAN is Professor of Historical Musicology at Leeds University, and director of The Parley of Instruments, the choir Psalmody, and the Suffolk Villages Festival.

New research throws light on the history of the viol after Purcell, including its revival in the late eighteenth century through Charles Frederick Abel.It is normally thought that the bass viol or viola da gamba dropped out of British musical life in the 1690s, and that Henry Purcell was the last composer to write for it. Peter Holman shows how the gamba changed its role and function in the Restoration period under the influence of foreign music and musicians; how it was played and composed for by the circle of immigrant musicians around Handel; how it was part of the fashion for exotic instruments in themiddle of the century; and how the presence in London of its greatest eighteenth-century exponent, Charles Frederick Abel, sparked off a revival in the 1760s and 70s.Later chapters investigate the gamba's role as an emblem of sensibility among aristocrats, artists and intellectuals, including the Countess of Pembroke, Sir Edward Walpole, Ann Ford, Laurence Sterne, Thomas Gainsborough and Benjamin Franklin, and trace Abel's influence and legacy farinto the nineteenth century. A concluding chapter is concerned with its role in the developing early music movement, culminating with Arnold Dolmetsch's first London concerts with old instruments in 1890. PETER HOLMAN is Professor Emeritus of Historical Musicology at Leeds University, and director of The Parley of Instruments, the choir Psalmody, and the Suffolk Villages Festival.