LUCEM – English Music
Leeds University Centre for English Music
The LUCEM ‘brand’ provides a focus for staff and student research as part of the broader clusters that make up the School’s research activities (particularly Music as Culture and Making Music), offering a distinctive identity to support conferences and study days, concert events, masterclasses, and a variety of published outputs. This local centre reflects the School’s specialisms in all aspects of English music and English musical life (concerts, broadcasting, criticism, reception, institutions, music-making) from mediaeval times until the present day. It also supports research students in the postgraduate community; recent and current theses include studies of the piano music of William Sterndale Bennett, the music criticism of Herbert Thompson, Leon Goossens and British oboe music, Arthur Sullivan and the Leeds Festival, Henry Wood and the promotion of orchestral Bach, music in Yorkshire in the long eighteenth century, the life and music of William Shield and scordatura tunings in seventeenth- and eighteenth-century English violin music.
Staff publications have included: books on Elgar, Parry, Purcell, British music and literature in the long nineteenth century, Granville Bantock’s correspondence, songs of the Victorian drawing room and parlour, and the viola da gamba; book chapters on progressive musical repertoire in nineteenth-century Britain, musical settings of Tennyson, Josef Holbrooke, the Britpop sound, Martin Peerson’s motets, Elgar’s Caractacus, Purcell, music clubs in seventeenth-century Britain, and the Victorian soirée; journal articles on the music of Bantock, Bax, Elgar, Parry, Stanford, Purcell and Jeremiah Clarke, the music criticism of Aldous Huxley, and musical imagery in the writings of Aleister Crowley; and editions of Draghi, Elgar, Parry, Peerson and Vaughan Williams. A representative listing of recent activities is given below. Exciting forthcoming LUCEM-related projects include a monograph on British Music for St. Cecilia from Purcell to Handel, book chapters on Restoration Opera and William Wallace’s Villon, articles on the literary representation of Peter Warlock and Parry’s Elegy for Brahms, editions of Elgar’s songs with orchestra and the Peerson Project. Recent conferences include: RMA/Musica Britannica Critical Editing Study Day (4 October 2014); Amateur Music-Making in the British Provinces (18 June 2014); and ‘Intimate relations: Musical Refiguring of Poetry from the Victorian Age’, a concert event as part of the August 2015 British Association of Victorian Studies conference, which included recitation music by Stanley Hawley, songs by Parry, Stanford, Quilter, Elgar and Bantock, and some of Bantock’s piano works. Future events include a performance of the music of Edward Loder, and a talk on Granville Bantock’s letters to William Wallace at the National Library of Scotland.
Recent Publications include:
Michael Allis, Temporaries and Eternals: The Music Criticism of Aldous Huxley, 1922-23 (Newcastle: Cambridge Scholars Publishing, 2013) ISBN 978-1-4438-4217-4
—, (ed.), Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893-1921: ‘Our new dawn of modern music’ (Woodbridge: The Boydell Press, 2012) ISBN 978-1-78327-233-4
Richard Rastall, (ed.), The Secular Latin Motet in the Renaissance (Lewiston NY & Lampeter: Edwin Mellen Press, 2010)
Derek B. Scott, Bawdy Songbooks of the Romantic Period, Vol.4 (London: Pickering & Chatto, 2011) ISBN 978-1-84893-029-2
—, The Singing Bourgeois (digitized 3rd edition with hyperlinks to song performances and additional historical information. http://www.victorianweb.org/mt/dbscott/intro1.html
Michael Allis, ‘Holbrooke and Poe Revisited: Refiguring The Raven as the Musical Uncanny’, in Paul Watt & Anne-Marie Forbes (eds.), Joseph Holbrooke: Composer, Critic, and Musical Patriot (Lanham: Rowman & Littlefield, 2014), 117-52.
Richard Rastall, ‘Compositional method and inspirational guesswork: reconstructing the Latin motets of Martin Peerson (c. 1572–1651)’, in Ann Buckley & Cynthia J. Cyrus (eds.), Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard (Kalamazoo: Medieval Institute Press, 2012), 277-303.
Julian Rushton, ‘Musicking Caractacus’, in Bennett Zon (ed.), Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley (Farnham: Ashgate, 2012), 221–240.
Derek B. Scott, ‘Comic Style in Sullivan’s Music’, in Ian G. Smith (ed.), The Magic That Is Gilbert & Sullivan (Halifax: Gilbert & Sullivan Festivals, 2013), 43–54.
—, ‘Irish Nationalism, British Imperialism, and Popular Song’, in Pauline Fairclough (ed.), Twentieth-Century Music and Politics: Essays in memory of Neil Edmunds (Farnham: Ashgate, 2013).
—, ‘Song Performance in the Early Sound Shorts of British Pathé’, in Julie Brown and Annette Davison (eds), The Sounds of the Silents in Britain: Voice, Music and Sound in Early Cinema Exhibition (New York: Oxford University Press, 2012), 183-199.
Bryan White, “Music and Merchants in Restoration London”, in Linda Phyllis Austern, Candace Bailey & Amanda Eubanks Winkler (eds.), Beyond Boundaries: Rethinking Music Circulation in Early Modern England. Music and the Early Modern Imagination (Bloomington Indiana: Indiana University Press: 2017), 150-164.
‘—, “Studying a little of the French Air”: Louis Grabu’s Albion and Albanius and the dramatic operas of Henry Purcell’, in Clive Brown, David Cooper and Rachel Cowgill (eds.), Art and Ideology in European Opera (Woodbridge: Boydell & Brewer, 2010), 12-29.
Michael Allis, ‘Reading Music Through Literary Scholarship: Granville Bantock, Shelley, and The Witch of Atlas’, Journal of Musicological Research 36.1 (2017), 6-28. [special issue on ‘Reading Music Through Literature’, edited by MA]
—, ‘”A canvas of endless extent”: Granville Bantock, Robert Southey and The Curse of Kehama Project’, European Romantic Review, 27.2 (2016), 143-74.
Steve Muir, ‘“About as wild and barbaric as well could be imagined…”: Critical reception of Rimsky-Korsakov in Nineteenth-Century England”, Music & Letters 93.4 (2012), 513-542.
Richard Rastall, ‘John Milton senior (1562‑1647): additions and corrections to the Thematic Catalogue’, Early Music Performer 26 (2010), 9‑11.
Julian Rushton, ‘Vaughan Williams: Serenade in A minor (1898): addendum to the published score’, The Ralph Vaughan Williams Society Journal 57 (June 2013), 17-18.
Derek B. Scott, ‘Invention and Interpretation in Popular Music Historiography’, in D. Helms and T. Phleps (eds.), Geschichte wird gemacht: zur Historiographie populäre Musik, Beiträge zur Popularmusikforschung 40 (Bielefeld: Transcript-Verlag, 2014), 41–54.
Bryan White, ‘“Brothers of the string”: Henry Purcell and the letter-books of Rowland Sherman’, Music & Letters 92 (2011), 519-581.
Clive Brown (ed.), Edward Elgar: Music for Violin, Elgar Complete Edition vol. 37 (Rickmansworth, Elgar Society Edition, 2007).
Richard Rastall (ed.), Martin Peerson. Complete Works IV: Mottects or Grave Chamber Musique (1630) (Newton Abbot: Antico Edition, 2012).
Julian Rushton (ed.), R. Vaughan Williams: Flos Campi, Study Score and Vocal Score (Oxford: Oxford University Press, 2014)
—, R. Vaughan Williams, Bucolic Suite (Oxford: Oxford University Press, 2012)
—, R. Vaughan Williams, Serenade for Small Orchestra in A minor (Oxford: Oxford University Press, 2012)
Bryan White (ed.), G B Draghi, From Harmony, from Heav’nly Harmony, Purcell Society Edition, Companion Series vol.3 (London: Stainer & Bell, 2010)
Recent Recording Projects
Michael Allis, booklet notes (and performing edition) for the CD Hubert Parry: Early Chamber Works (The Bridge Quartet/Robert Gibbs), EM Records EMRCD016, 2013.
Richard Rastall, Editions, reconstructions and booklet notes for the CD Sublime Discourses. John Milton (1562-1647) and Martin Peerson (c1572-1651): The Complete Instrumental Music. Fretwork with Michael Chance (countertenor) and Sophie Yates (virginals). Regent Records REGCD341, 2011.
25 April 2015, Philip Hayes, The Judgment of Hermes (1783), Skipton Camerata and Clothworkers Consort of Leeds
21 November 2014, ‘Beyond the sphere of grief’: English partsongs and motets of the Great War. Works by Parry, Elgar, Farrar, Holst Howells and Wood.
8 December 2013: ‘Temporaries and Eternals’: Aldous Huxley and Music. Pre-concert talk and concert combining works by composers that Huxley admired as a music critic (Brahms, Franck, Delius, Handel, Offenbach, Beethoven, Mozart) with readings from Huxley’s music criticism and novels.
Dan Gordon (piano) First known performance of York Bowen’s Variations and Fugue on an Unoriginal Theme, op.62; February 2011.
Jonathan Tobutt (oboe)
—, w/Dan Gordon (piano), oboe music by Britten, Berkeley and Bowen, November 2011.
—, ‘The Goossens Inheritance’: a concert of music by Lennox Berkeley, York Bowen, Benjamin Britten and Alan Richardson.
—, ‘Leon Goossens: the iconist oboist’ I, w/ Dan Gordon, Arnold Cooke and Alan Richardson
—, ‘Leon Goossens: the iconic oboist’ II, w/the Ferdinand David Ensemble (historically-informed performance on a restored 1926 Lorée oboe of Bax’s Oboe Quintet and Elgar’s Oboe Quintet, April 2012).
—, w/the Lydian string quartet, works by Warlock, Bax, Jacob and Vaughan Williams
—,w/the School of Music Philharmonia and Chorus, Gordon Jacob Concerto No.2 (March 2010)
Andrew Motion & Ian Buckle: music by Coates, Rubbra, Bridge, Britten, Ireland & Fitkin.
Recent conference papers
Michael Allis, ‘From musicology to novel: reassessing Robertson Davies’ literary representation of Peter Warlock’, Britain, Canada & the Arts conference, London, September 2017
—, ‘The musical refiguring of Shelley: Granville Bantock and The Witch of Atlas’, 50th RMA Conference, University of Leeds, September 2014.
Richard Rastall, Response to papers in the session ‘Minstrels and players’, International Medieval Congress, Kalamazoo, May 2015.
—, ‘On the way to a wedding: minstrels with Princess Eleanor of England, April-June 1332’, International Medieval Congress, Kalamazoo, May 2012.
Julian Rushton, ‘The Making of Elgar’s Caractacus’, NABMSA biennial conference, University of Illinois at Urbana-Champaign-Urbana, July 2012.
Derek B. Scott, ‘Comic Style and Character Psychology in the the Music of Arthur Sullivan’, 18th Biennial International Conference on Nineteenth-Century Music, Toronto, June 2014.
—, ‘Policing the Boundaries of Art and Entertainment’, invited keynote, Kulturkritik und das Populäre in der Musik, Heinrich Heine Universität, Düsseldorf, March 2014.
Bryan White, ‘Lost in Translation: Louis Grabu’s and John Dryden’s Albion and Albanius‘, 16th International Conference on Baroque Music, Mozateum, Salzburg, July 2014.
Recent Radio and Television contributions
Derek B. Scott, Contributions to Oh My What A Rotten Song! (Michael Rosen, BBC Radio 4, 2011), Britain’s Other Music Hall—The Blackface Minstrels (BBC Radio 4, 2009), ‘The Good Old Days?’ (BBC Radio 3, 2009), Thomas Hardy and music (David Owen Norris, BBC Radio 4, 2011); participant in programme on John Clare and music (John Clare’s Playlist), presenter David Owen Norris, producer Elizabeth Burke, BBC Radio 4, 14 December 2013. Contributor to programme on Eurovision results with Maria McErlane. 11 May 2014, 17:00–19:00, BBC Radio 2 Eurovision <http://www.bbc.co.uk/programmes/p01yykx6> (from 1h34m). Recorded interview (with musical examples) for item on “The Star-Spangled Banner,” BBC Radio 2, 4 July 2014, 8:50 PM. The Story of Music Hall (Michael Grade, BBC 4, 2011), Titanic: A Commemoration in Music and Film (John Humphrys, BBC 2, 2012), Len Goodman’s Dancing Feet (BBC 4, 2012), The One and Only Mrs Mills (BBC 4, 2012) and Who do you think you are? (BBC1 September 2014) – a genealogy documentary focusing on Sheridan Smith, whose great-great-grandfather was a Victorian banjo virtuoso. <http://goo.gl/mqkXNu>.