Early Music

Article	Citations
Music and the internet in the age of covid-19	9
O splendor gloriae: Taverner or Tye?	2
Louise Dyer’s Éditions de l’Oiseau Lyre and the Œuvres complètes de François Couperin	2
Violin technique and the contrapuntal imagination in 17th-century German lands	1
The 17th-century dramatic voice, sacred and secular	1
Bridge shapes of the violin and other bowed instruments, 1400–1900: the origin and evolution of their design	1
Handel’s singers from the London choirs	1
Who sang Hamor in Handel’s Jephtha?	1
Editorial	1
The Josquin canon at 500	1
‘May she who was once beautiful be transformed into a monster’: magic and witchcraft in Veneno es de amor la envidia (Madrid, 1711)	1
Celestial music: astrology and instrumental affect in Der Natur Banquet (Wolfenbüttel, 1654)	0
A Romantic salon	0
Farinel’s Ground and other ‘Follyes’ in English sources of the late 17th and early 18th centuries	0
Eternal rest, perpetual light and the Last Judgement: Antoine Brumel’s Dies irae in the early Requiem tradition	0
Threads of Renaissance gold	0
Editorial	0
Benedicamus Domino: delight in singing praise to God at Las Huelgas of Burgos	0
Advertisers’ index	0
True Orpheus of the city of Rome	0
Italian Baroque instrumental music	0
Josquin at 500	0
‘Amor profano, amor sacro’: Musical orators of the 17th century	0
Paradise lost	0
Abstracts	0

‘Magis corde quam organo’: Agazzari, Amadino, and the hidden meanings of Eumelio	0
Biennial Baroque in Geneva	0
Captain Henry Cooke in Oxford	0
Leipzig after Bach	0
A proper farewell to Beethoven’s 250th; balm for the dispirited listener’s soul	0
Singing to the lyre	0
John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification	0
Handel allows his rivals to shine	0
Learning from period pianos	0
Baroque musical offerings	0
Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music	0
Bach for harpsichord, piano and harp	0
Abstracts	0
Jakob Adlung’s ‘Anweisung zum Fantasiren’ (c.1725–7): edition, translation and introduction	0
Romanizing Chinese: word–tone relations in Athanasius Kircher’s China illustrata	0
Spatial dispositions in English instrumental consort music, c.1575–1650: a further examination	0
Tracing Obrecht’s musical career	0
Repopularizing ‘popular opera’	0
Francesco Ballerini’s opera licence for Vienna	0
Playing finger cymbals in the Roman Empire: an iconographic study	0
Attending (to) Masses in the long 16th century	0
The Motet Cycles Database and Gaffurius Codices Online	0
Abstracts	0
The chordal continuo in French Baroque opera: revisiting the evidence	0
Hiding in plain sight	0
Early English music for ‘distracted times’	0
Byrd’s Fragments	0
‘The most principall and chiefest kind of musicke’	0
Early Music and materiality—2	0
Sound in time	0
Guadagni in Handel’s London: the formation of a voice	0
An earthquake, a damaged painting, an unknown motet, and a lost Petrucci edition	0
Lesser heard ‘voices’ of instrumental chamber music, c.1800	0
Performing medieval narrative and song	0
Nicolas Bernier’s ‘Principes de composition’ and the Italian partimento tradition	0
Handel ascriptions	0
Abstracts	0
Rediscovering Arnold Dolmetsch: going back to the sources of the early music revival	0
A singer’s primer for early music	0
Anthony Rooley’s article in this journal on the Neo-Platonic background to John Dowland’s Lachrimae	0
Motet cycles between devotion and liturgy	0
New light on the 17th-century English cathedral wind band: a (fragmentary) Canterbury tale	0
John Sheppard and the Ewens: a closer look	0
Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)	0
Fashioning an enduring musical identity in image, sound and stone	0
Another case of Carmina Piranha?	0
Moralizing and metamorphosis	0
Instruments in the liturgy of the Real Colegio Seminario de Corpus Christi, València, in the 17th century	0
The many worlds of Anna Magdalena Bach	0
Abstract	0

A musical farewell in bi-confessional early modern Austria	0
Hildegard’s Gesamtkunstwerk	0
Fiddlesticks: two bows from the Mary Rose	0
‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series	0
Violin-making in Rome, 1700−1830: new archival investigations	0
A bibliographical imbroglio: Books 1 and 2 of Couperin’s Pièces de clavecin	0
Editorial	0
Music from 18th-century Bohemia and beyond	0
Bach’s keyboard concertos on harpsichord and piano	0
‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings	0
French music reimagined	0
Editorial	0
Queen Caroline, music and Handel revisited	0
Correspondence	0
On the trail of the Willmott and Braikenridge manuscripts	0
Seeking the historical listener	0
When the CD was king: reminiscences of a Reviews Editor	0
Gerrit van Honthorst’s guitar: tracing 
the features of an instrument reappearing 
in the works of the Utrecht Caravaggist	0
The wreck of the Gloucester revisited	0
Bach and beyond	0
Capricious songs and dances from early modern Europe	0
Abstracts	0
The organ in Jewish culture during the long Renaissance	0
Clavichord, harpsichord, forte piano and organ	0
Instrumental sounds of the 18th century	0
Musical sources: 70 years of RISM	0
Ariane consolée par Bacchus and François Couperin’s early writing for the viol	0
Elegant anthems by Thomas Tallis	0
German keyboard music from Praetorius to Haydn	0
Father Hermann Kniebandl (1679–1745), lutenist, composer and scribe from the Cistercian Abbey of Grüssau, Silesia	0
On screen and stage: a performer’s perspective on life in early music, 2020–21	0
Abstracts	0
An embarrassment of polyphonic riches	0
Correspondence	0
Sounding passions and therapeutic performance in Thomas Weelkes’s songs	0
Choirs, flutes and lutes	0
French collections: a precious miscellany	0
Music for keyboard and consort	0
Frescobaldi at the Ospedale di Santo Spirito: a portfolio career in 17th-century Rome	0
Experience, emotion and sound in a medieval mainstream: recording the trouvères	0
Internet score libraries	0
Music and national identity in early modern Rome	0
Nec doctum satis: humanist translation and English recreational song	0
Lavish sounds of early modern Italy	0
Singers on the streets	0
Editorial	0
Hamburg to Vienna: German and Austrian Baroque	0
The Spanish Golden Age and beyond	0
Abstracts	0
Correspondence	0
Swete soundynge Lutes and most pleasant Ditties	0
Newly discovered 14th-century polyphony in Oxford	0
Steffani’s Amor vien dal Destino: new answers to old questions	0
Cryptic tenors	0
Touring the European Baroque	0
François de Fossa, Louis Picquot and the transmission of Luigi Boccherini’s guitar quintets	0
Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna	0
Medieval pilgrimage and devotion	0
Direction from within	0
Miscellany on the London stage	0
Early Music and materiality—1	0
Editorial	0
Recordings for all seasons	0
Advertisers’ index	0
The ‘Couperin chord’	0
Editorial	0
‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes	0
The Underworld of Orpheus’s music dramas	0
The metronome marks for Beethoven’s Ninth Symphony in context	0
Early keyboard carnival	0
Little contest	0
Abstracts	0
Editorial	0
Poca robba, ma buona: the recorded legacy of ornamentation practice in 16th- and 17th-century music	0
Echoes behaving badly? Rhetorical and acoustic experimentalism in the echo fantasias of Jan Pieterszoon Sweelinck and his contemporaries	0
Handel’s harpsichords revisited Part II: Handel’s domestic harpsichords	0
Freynshe fare	0
To great benefit	0
Abstracts	0
Alfred Deller and the Stour Festival	0

Not the Renaissance	0
Orlando at play: the games of 
Il palazzo incantato (1642)	0
Patterns of devotion in Britain and Ireland	0
Against the odds: pandemic early choral music	0
Music and love in Sigismondo Fanti’s Triompho di Fortuna (1527)	0
‘Your Muse Remains Forever’: memory and monumentality in Elizabethan manuscript partbooks	0
Thomas Binkley’s continuing influence, 25 years on	0
Handel’s harpsichords revisited Part I: Handel and Ruckers harpsichords	0
Fuga and invertible counterpoint in Byrd’s Cantiones sacrae (1589): some preliminary observations	0
Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna	0
The evolution of Early Music	0
Music, liturgy and confraternities	0
Byrd 400 festival	0
Fifteenth- and sixteenth-century music notations	0
Will wonders never cease? The viola bastarda at the Ferrarese court	0
Lute and theorbo toccatas of seicento Italy: the historical significance of a sidelined repertory	0
In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer	0
Editorial	0
Editorial	0
A response to Joshua Rifkin (‘Singing nuns? More on the story of Verona 761’)	0
Richafort’s Requiem: beyond Josquin	0
Hidalgo’s golden age in sound: Hispanic songs on recordings since 1966	0
Editorial	0
Abstracts	0
History of the viol	0
English thinking about music	0
Familiar and unfamiliar	0
Handel’s ‘Labours to please’	0
Recataloguing Bach	0
Italian practices in German lute tablature 
manuscripts, c.1500: practical script appearance	0
Inside—and outside—Illibata: composition, context and chronology in a famous Josquin motet	0
Raphael’s ‘imperfect’ viol: a question of perspective	0
German sacred music, Catholic and Protestant	0
Relics of 13th-century Paris	0
A plethora of plucked strings	0
Beguiling transformations, from Bach and beyond	0
Sounds powerful	0
Music for St Cecilia’s Day from Purcell to Handel	0
The Italian chamber cantata: a decade of recordings	0
From Antico to Zipoli: Listening to three centuries of Italian keyboard music	0
‘Triumph, victorious Love’: Le Triomphe de l’Amour (1681) and English dramatic opera	0
Mourning sickness: the musical birth of ‘Barbara Allen’	0
Bach returns to Cambridge	0
Benedicamus Domino tropes in the Birgittine Order: embellishing everyday liturgy	0
The adaptability of the English ayre: secondary polyphonization techniques in Thomas Campion’s Two books of ayres	0
Lustrous songs and delicate dances	0
(Re)creating the Eglantine Table	0
Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach’s advice to performers	0
King George III and the ‘Smith Collection’ of Handel manuscripts	0
Aesthetic expression an das Clavier: performing character in the keyboard music of C. P. E. Bach	0
Musicians and their monuments in the Burgundian Netherlands: some art historical perspectives	0
Tackling Telemann	0
Whispers, worms, wildfire and wanderers	0
Music, gender and the erotic in Italian visual culture of the 16th century: introduction	0
Very early music in Early Music	0
Poor Clares, rich in music: unique polyphonic Benedicamus Domino settings from southern Polish convents in the late 13th and early 14th centuries	0
Trouvère thievery	0
Cueurs desolez: Josquin, La Rue and a lament for Anne de Foix	0
Medieval and Renaissance Music Conference at 50	0
‘Magnificence of promises’: novelty instruments in concert in Britain, c.1750–1800	0
Music from the Low Countries (c.1580–c.1780)	0
A comment from a friend about my book Towards a new history of the piano	0
The ‘English’ cadence: reading an early modern musical trope	0
Medieval and Renaissance Music Conference in Munich	0
Three centuries of the guitar in England	0
The patterns of music subscription in English, Welsh and Irish cathedrals during the Georgian era	0
Musical watercourses: German vocal music before and including Johann Sebastian Bach	0
Arnaud du Sarrat and the international music trade in Halle and Leipzig c.1700	0
The Earl of Manchester and opera in London	0
Ina Lohr at Basel	0
Abstracts	0
Advertisers’ index	0
John Byrt (1940–2021)	0
Josquin at 500	0
William Byrd’s Come, woeful Orpheus in context: motion as visual and musical affect	0
The Chevalier de Quincy: an officer and his musical passe-partout	0
Old music, new titillations	0
Listening to the flute	0
An alluring sight of music: the musical ‘courtesan’ in the Cinquecento	0
Jeremy Montagu (1927–2020)	0
A French Baroque miscellany	0
Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)	0
Sacred music by Schütz and Schein from the 1620s	0
Transcending the body: music, chastity and ecstasy in Reni’s St Cecilia playing the violin	0
‘Ah Heav’n! What is’t I hear?’: Purcell on disc	0
Dido restor’d	0
Melismas in the Speculum musicae	0
Correction to: Bach returns to Cambridge	0
Reassessing the development of cori spezzati: new discoveries in Bologna	0
Furor teutonicus	0
Crossing confessions in the cantons	0
Virtual Baroque in Birmingham	0
Music markets in Georgian Britain	0
A forgotten pioneer: Eugene Marteney and the American renaissance of hautboy-making, 1962–1969	0
‘A knowledge easely taught, and quickly learned’: learning to sing in Byrd’s England	0