London Apollonicon Recitals, 1817-32: a case study in Mozart, Haydn,
and Bach reception’, Journal of the Royal Musical Association,
123 (1998), 190-228.
‘“Wise Men from the East”: Mozart’s operas
and their advocates in early nineteenth-century London’, in
Music and British Culture, 1785-1914: essays in honour of Cyril
Ehrlich, ed. by C. Bashford and L. Langley (Oxford: OUP, 2000),
‘“Science and sublimity”: themes in the English
reception of Mozart’s Requiem’, 3rd Biennial International
Conference on Music in Nineteenth-Century Britain, Royal College
of Music, 2001.
With Christina Bashford and Simon McVeigh, ‘The Concert Life
in Nineteenth-Century London database project’, in Nineteenth-Century
British Music Studies 2, ed. by J. Dibble and B. Zon (Aldershot:
Ashgate, 2002), 1-12.
‘Writing Concert History’, Music in Britain: a
Social History seminar, Institute of Historical Research, University
of London, 2002 (roundtable contribution).
With Christina Bashford and Ann Royle, ‘Towards a History
of London Concerts: introducing the Concert Life in Nineteenth-Century
London database project’, Research Seminar, University
of Leeds, 2001, and Royal Musical Association Research Students’
Conference, Royal College of Music, 2002.
‘Climb Ev’ry Mountain?: Finding a New Music Historiography
for Nineteenth-Century Britain’, Royal Musical Association
annual conference, University of Cardiff, 2003 (roundtable contribution).
With Ann Royle (delivered by Ann Royle), ‘“A Duke of
Wellington amongst us”: the changing role and public persona
of the conductor in early nineteenth-century London concert life’,
Aspects of the British Musical Renaissance Study Day IX: English
Music, Concert Life, and Theatre, 1830-1960, University of
Birmingham, 2003, and 4th Biennial International Conference
on Music in Nineteenth-Century Britain, University of Leeds,
‘“Such scientific and profound harmonies”: the
Italian opera orchestra and early performances of Mozart’s
Don Giovanni in London’, The Opera Orchestra
in 18th- and 19th-century Europe conference, Institute for
Musicology, Budapest, 2001, and Graduate Students’ Colloquium,
Faculty of Music, Oxford University, 2003; revised version in The
Opera Orchestra in 18th- and 19th-century Europe. Vol. II: The Orchestra
in the Theatre – composers, orchestras, and instruments,
ed. by N.M. Jensen and F. Piperno, Musical LIfe in Europe 1600-1900:
Circulation, Institutions, Representation (Berlin: Berlin Verlag,
‘“Hence, base intruder, hence”: rejection and
assimilation in the early English reception of Mozart’s Requiem’,
Eighteenth-Century Studies Group, University of Leeds, 2004, School
of Music Colloquium, Northwestern University US, 2005, and History
and Music conference (jointly organised by the Royal Musical
Association and Royal Historical Society), Centre for Research in
the Arts, Social Sciences, and Humanities, University of Cambridge,
2005; revised version in Europe, Empire and Spectacle in Nineteenth-Century
British Music, ed. by R. Cowgill and J. Rushton (Aldershot:
Ashgate, in 2006)
‘“The languor of grief, the intensity of awe, and the
fervour of enthusiasm”: Mozart’s Requiem, the Gothic
Revival, and the politics of sacred music in early Victorian England’,
Research Seminar, Leeds Centre for Victorian Studies, Trinity and
All Saints College, 2005.
‘Redeeming the Requiem: the ‘naturalisation’
of Mozart’s last work in early nineteenth-century England’,
5th Biennial International Conference on Music in Nineteenth-Century
Britain, University of Nottingham, 2005, Annual Meeting of
the American Musicological Society, Washington DC, 2005 (supported
by a travel grant from the British Academy), John Bird Seminar,
Department of Music, University of Wales at Cardiff, 2005, Mozart
Then and Now – a discovery event to celebrate the 250th anniversary
of Mozart’s birth, British Library, 2006, Postgraduate
Seminar, Department of Drama and Music, University of Hull, 2006.
Europe, Empire and Spectacle in Nineteenth-Century British
Music, ed. by R. Cowgill and J. Rushton (Aldershot: Ashgate,
Redeeming the Requiem: themes in the early English reception
of Mozart’s last work (monograph, Boydell & Brewer,
in preparation). Work supported by a Small Grant from the Arts and
Humanities Research Council (UK).