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  1. November 29, 2023

    The Requiem at St. Mark’s: A Voyage through Venetian Musical and Liturgical Waters

    By Jonathan R. J. Drennan

    Requiems by Giovanni Croce and Giovanni Rovetta: The Requiem Mass at St. Mark’s, Venice, in the Seventeenth Century (B238) is the inaugural entry in The Requiem Mass at St. Mark’s, a three-part anthology that explores the high (or sung) requiem mass at St. Mark’s, Venice, over the course of four centuries, from the late sixteenth to the last decade of the nineteenth. The anthology, which represents the first-ever attempt to make critical editions of the requiem masses composed by musicians at St. Mark’s, includes abundant new research. There are various objectives here; primarily, I endeavor to tell the story of the Requiem, but the “package,” taken as a whole, serves to provide an engaging musical-cum-liturgical-cum-historical story of St. Mark’s and, ultimately, Venice.

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  2. November 20, 2023

    AMS 2023 Palisca Prize



    Congratulations to Jonathan Wainwright! His edition of Angelo Notari: Collected Works won the 2023 Claude V. Palisca Prize for best edition or translation, awarded by the American Musicological Society.

    A-R Editions is proud to be the publisher of this three-volume edition, which comprises volumes 230, 231, and 232 in the series Recent Researches in the Music of the Baroque Era.

    Wainwright joins a prestigious list of previous winners, including several from A-R Editions:

    2022: Norm Cohen, Carson Cohen, and Anne Dhu McLucas for An American Singing Heritage
    2021: Jennifer DeLapp-Birkett and Aaron Sherber for Aaron Copland: Appalachian Spring, Original Ballet Version
    2019: Lyn Schenbeck and Lawrence Schenbeck for Noble Sissle and Eubie Blake: Shuffle Along
    2018: Michael Ochs for Joseph

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  3. October 25, 2023

    Meet our editorial team at AMS-SMT 2023

    The A-R editorial team will soon depart for Denver and the 2023 Joint Annual Meeting of the American Musicological Society and Society of Music Theory. While information for prospective authors can be found on our website, we all know that ideas are sparked and developed in conversation, and we look forward to having many inspiring discussions in the Mile High City. See you soon!

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  4. October 11, 2023

    Protip: Word Division in Lyrics, Part 2: Spanish and French (with Additional Considerations for Portuguese, Galacian, Catalan, and Occitan)

    By A-R's house editors

    This is the second in a series of UnderScore posts on word division in lyrics within music, covering syllabification guidelines for Spanish and French. Please note that the rules given here may differ in small details from guidelines given in style manuals not primarily concerned with sung texts.

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  5. September 07, 2023

    Protip: Word Division in Lyrics, Part 1: Introduction, Latin, Italian

    By A-R's house editors

    In editing vocal music, one of the most important concerns is, of course, the words being sung. This series of posts aims to clarify A-R’s recommended best practices on word division within music, including rules specific to various languages commonly encountered in the Western art music tradition. This post begins the series with a brief introduction, followed by rules for Latin and Italian.

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  6. August 01, 2023

    John Eccles, Print, and Popularity; or Hit Tunes from Restoration London, Part 2

    By Estelle Murphy

    My interest in John Eccles (ca. 1668–1735) began with my MPhil research on his court odes. Eccles began his career in London’s theaters around 1690, composing for the United Company at Drury Lane Theater, and then, when the company broke up in 1695, moved with Thomas Betterton to Lincoln’s Inn Fields. The songs he composed were enormously popular, and he quickly became one of London’s best-known theater composers. He was appointed to a position as a violinist in the king’s band in 1696 and was made Master of the King’s Musick in 1700; in this position he continued to compose for the theater. Perhaps unsurprisingly, Eccles’s approach to the songs in his court odes echoed the style he used for his theater songs, and both types appeared in print as single sheets and alongside one another in collections.

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  7. July 05, 2023

    Early Music Lost and Found

    By Ross W. Duffin

    Lost music—thwarting the performance of something that otherwise is obviously worth hearing—has long been a fascination of mine, and I’m drawn to projects with some missing feature that I might supply. Since retiring from university teaching in 2018, I have often found myself on the trail of music for poetry collections that were originally intended to be sung, but for which little or no evidence has survived of their tunes. The roots of that interest extend back into my work on songs in early modern English plays, including Shakespeare and his contemporaries. And it was while tracing further theatrical tunes that I ran across Gude & Godlie Ballatis (first published 1565), the first of three poetic collections I noticed that were crying out for musical attention.

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  8. May 31, 2023

    Meet Patrick Wall, Owner and CEO of A-R Editions

    By A-R Editions

    Patrick Wall is the owner and CEO of A-R Editions. As one of the biggest supporters of our passion for bringing historical music to modern performers and audiences, Pat works tirelessly to keep all of A-R’s departments productive and (perhaps most importantly) solvent. He spoke with us about what that means to him.

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  9. May 08, 2023

    A-R at the Coronation: William Boyce's "The King Shall Rejoice"

    By A-R Editions

    The coronation service for King Charles III and Queen Camilla on 6 May 2023 was filled with music. We at A-R Editions are proud to report that this magnificently varied program included one piece from our own catalog: the opening chorus of “The King Shall Rejoice,” composed by William Boyce (1711–79) and edited by John R. Van Nice in our volume Two Anthems for the Georgian Court, Part 2 (B008, 1970).

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  10. April 26, 2023

    The Making of “A Wilkie Collins Songbook”

    By Allan W. Atlas

    It was in or around 1990 that I met Wilkie Collins (1824–89) for the first time, our introduction courtesy of the phenomenally popular Woman in White (1860). Looking back, I can say that my initial experience with that novel echoed that of the then-Chancellor of the Exchequer (and later four-term prime minister) William Ewart Gladstone (1809–96), who, while reading the work at home one evening, became so engrossed in it that he forgot to keep an appointment at the theater. I, too, could not put down The Woman in White. And though I could not have possibly realized it at the time, it was that meeting that marked the genesis of A Wilkie Collins Songbook.

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