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English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists treated it as seriously as vocal music. This book draws together important research on the music, its sources and the instruments on which it was played.

In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The essays collected here encompass the range of research in the field, bringing together contributions from performers.

Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752ΓÇô1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores ClementiΓÇÖs multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the bookΓÇÖs broader themes.

English keyboard music reached an unsurpassed level of sophistication in the late sixteenth and early seventeenth centuries as organists treated it as seriously as vocal music. This book draws together important research on the music, its sources and the instruments on which it was played.

Studies in English Organ Music is a collection of essays by expert authors that examines key areas of the repertoire in the history of organ music in England. The essays on repertoire are placed alongside supporting studies in organ building and liturgical practice in order to provide a comprehensive contextualization. An analysis of the symbiotic relationship between the organ, liturgy, and composers reveals how the repertoire has been shaped by these complementary areas and developed through history. This volume is the first collection of specialist studies related to the field of English organ music.