At this book's core is a critical edition of letters exchanged over 50 years between Anglo-Irish composer Elizabeth Maconchy (1907-1994) and the Welsh composer Grace Williams (1906-1977). These two innovative and talented women are highly regarded for their music, their professional activities and their roles in British musical life. The edition comprises around 200 letters from 1927 to 1977, none of which have been published before, along with scholarly introductions and contextualizations. Interwoven commentaries, in tandem with carefully constructed appendices, frame the letter texts. Moreover, the commentaries and introductory essays highlight and track the development of important themes and issues that characterize the study of twentieth-century British music today. This edition presents a dialogue, through both sides of a unique correspondence, offering an alternative commentary on musical and cultural developments of this period.
Table of Contents
Part I: Letters 1–49 (1927–Summer 1939) I.1. Letters 1–9 (1927–August 1931) I.2. Letters 10–23 (February 1932–March 1933) I.3. Letters 24–34 (June 1933–March 1934) I.4. Letters 35–41 (November 1934–March 1936) I.5. Letters 42–49 (June 1937–Summer 1939) Part II: Letters 50–93 (October 1939–April 1949) II.1. Letters 50–64 (October 1939–June 1942) II.2. Letters 65–81 (January 1943–December 1944) II.3. Letters 82–85 (May 1945–January 1947) II.4. Letters 86–90 (October 1947–June 1948) II.5. Letters 91–93 (February 1949–April 1949) Part III: Letters 94–146 (November 1949–December 1959) III.1. Letters 94–104 (November 1949–July 1950) III.2. Letters 105–113 (December 1950–November 1952) III.3. Letters 114–122 (March 1953–March 1955) III.4. Letters 123–136 (February 1956–August 1958) III.5. Letters 137–146 (January 1959–December 1959) Part IV: Letters 147–187 (August 1960–December 1965) IV.1. Letters 147–151 (August 1960–May 1961) IV.2. Letters 152–162 (December 1961–February 1963) IV.3. Letters 163–173 (July 1963–April 1964) IV.4. Letters 174–179 (July 1964–January 1965) IV.5. Letters 180–187 (March 1965–December 1965), Grace Williams: Works, Elizabeth Maconchy: Works </P>
Part V: Letters 188–268 (February 1966–November 1969) V.1. Letters 188–198 (February 1966–December 1966) V.2. Letters 199–220 (January 1967–May 1967) V.3. Letters 221–238 (July 1967–January 1968) V.4. Letters 239–254 (February 1968–December 1968) V.5. Letters 255–268 (December 1968–November 1969) Part VI: Letters 269–353 (January 1970–January 1977) VI.1. Letters 269–285 (January 1970–December 1970) VI.2. Letters 286–295 (January 1971–November 1971) VI.3. Letters 295–305 (February 1972–January 1973) VI.4. Letters 306–315 (March 1973–December 1973) VI.5. Letters 316–326 (February 1974–December 1974) VI.6. Letters 327–337 (January 1975–December 1975) VI.7. Letters 338–353 (February 1976–January 1977), Grace Williams: Works, Elizabeth Maconchy: Works </P>
Jenny Doctor is a musicologist intrigued by social aspects of British culture in the twentieth century, particularly with respect to the development of sound technologies. After she was awarded a Fulbright Grant to the UK in 1989, she stayed on, rummaging around the BBC archives whenever possible; her investigations led to The BBC and Ultra-Modern Music, 1922–36: Shaping a Nation’s Tastes (1999). With Sir Nicholas Kenyon and David Wright, she co-edited The Proms: A New History (2007), contributing an essay on the interwar period. At the same time, she and Nicky Losseff co-edited Silence, Music, Silent Music (Ashgate, 2007), to which she contributed the essay, 'The Texture of Silence'. Jenny's interest in mid-twentieth-century British composers is evident in essays she's published on Elgar, Vaughan Williams and Britten, as well as in an article that she recently published in Musical Quarterly, 'The Parataxis of British Musical Modernism' (91/1–2 (2008): 89–115
Sophie Fuller studied music at King’s College, London University and was a lecturer in music at the University of Reading. She is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present (1994) and has co-edited a variety of essays around this topic. Sophie’s research interests include many different aspects of music, gender and sexuality but focus in particular on musical life in late 19th- and 20th-century Britain. Her most recent work in this area has been on creative women and exoticism in fin-de-siècle Britain and on the significance of the private musical world in the life and career of Edward Elgar. Other interests include song, together with its composers and singers – from Hildegard of Bingen through Maude Valérie White and Clara Butt to George Michael – and Russian music and music in Russia.