| The sources listed in Robin Holloway's
book On
Music: Essays and Diversions, are
set out below.
The Spectator: ‘Robust masterpiece’, 19 Nov. 1988; ‘The
great mutilator’, 28 Jan. 1989; ‘Unobtrusive conservative’,
25 March 1989; ‘La vie en rose’, 27 May 1989; ‘Russian
jamboree’, 19 Aug. 1989; ‘Bach betrayed’, 23
Sept. 1989; ‘Gingerbread artistry’, 23–30 Dec.
1989; ‘Schubert’s songs recorded’, 10 March
1990 and 30 Dec. 2000; ‘Rott stopped’, 22 Sept. 1990; ‘Complex
Oedipus’, 24 Nov. 1990; ‘Henze’s law’,
26 Jan. 1991; ‘Dutch treat’, 15 Feb. 1991; ‘Mozart:
redundant genius’, 23 Nov. 1991; ‘Mengelberg’s
St Matthew Passion, 25 April 1992; ‘Purcell’s diligent
muse’, 24 Oct. 1992; ‘An original magpie’,
23 July 1994; ‘Fulfilling every desire’, 13 May 1995; ‘Best
of British’, 18 Nov. 1995; ‘“Use your ears
like a man”’, 20 Jan. 1996; ‘Batting for Bruckner’,
26 Oct. 1996; ‘Love abideth foremost’, 26 April 1997; ‘Love
abideth foremost’, 26 April 1997; ‘A noble nature’,
20/27 Dec. 1997; ‘Remembering two composers’, 31
Jan. 1998; ‘Homage to Elgar’, 28 Feb. 1998; ‘Business
as usual’, 25 July 1998; ‘Poulenc centennial’,
27 March 1999; ‘Celebrating Strauss’, 30 Oct. 1999; ‘Humanising
Wagner’, 29 April 2000; ‘Shostakovich horrors’,
26 Aug. 2000; ‘Recovering from Schnittke’, 27 Jan.
2001; ‘Ravel’s struggles’, 26 May 2001; ‘Britten
25 years on’, 24 Nov. 2001; ‘hab’ Dank!’,
29 Dec. 2001; ‘Chabrier’s songs’, 26 Oct. 2002; ‘Oliver
Knussen at 50’, 30 Nov. 2002
Tempo: ‘Stravinsky’s Self-Concealment’, 1974; ‘Two
on Weill’, 1975, 1997; ‘Britten memorial piece’,
1977; ‘The complete Lulu’, 1979); ‘Adventures
Underground’, 1980; ‘All in the Golden Afternoon’,
1981; ‘Reports from the U.S.’, 1981; ‘Stockhausen’s
Inori’, 1982; ‘Debussy and the theatre’, 1983; ‘Die
Frau ohne Schatten’, 1992; ‘Thoughts on the 50th
anniversary of Strauss’s death’, 1999; ‘Schoeck
the evolutionary’, 2001
The Musical Times: ‘Sugar and spice’, Nov. 1993; ‘The
Kraken Wakes’, Dec. 1994; ‘Master of hearts’,
Aug. 1995; ‘Revival of the fittest’, Nov. 1996; ‘Smiling
through’, Dec. 1996; ‘Customised goods’, Oct.,
Nov., Dec. 1997; ‘Howard’s way’, July 2000
Times Literary Supplement: ‘The search for a sound aesthetics’,
31 March – 6 April 1989; ‘A world of private meanings’,
23 Aug. 1991; ‘Splendid but silly’, 27 Sept. 1991; ‘Strange
victory’, 13 Nov. 1992; ‘Stravinsky’s spiritual
son’, 24 March 1995; ‘A colossal drive to create’,
8 May 1998
Cambridge Review: ‘Britten – The Sentimental Sublime’,
30 May 1964; ‘Lulu’, 2–4 June 1979
Music and Musicians: ‘Strauss’s last opera’,
26–8 June 1973; ‘The writings of Debussy’,
1978
London Review of Books: ‘Keller’s causes’,
3 August 1995; ‘Empathy’, 8 August 2002
The Listener: ‘The man and his toys’, 17/24 Dec.
1987
BBC Music Magazine: ‘Scriabin: the Poem of Ecstasy, March
1999
Observer: ‘An artist of interpretation’, 6 April
1986
Independent: ‘Beware the pitfalls of sincerity, 14 Oct.
1989
Programme Book for L.S.O. Gershwin Series (1987): ‘“But
is it Art?” Gershwin in a classical context’
London Sinfonietta programme book: ‘Models of invention’,
Oct. 1993
The Music of Alexander Goehr, ed. Bayan Northcott (London:
Schott, 1980): ‘Towards a critiqueÑüthe music of Alexander
Goehr
The Britten Companion, ed. Christopher Palmer (London: Faber,
1984): ‘The church parables (II): limits and renewals’
Twilight of the Gods, ed. Nicholas John (London: ENO/ROH Guide
31, 1985): ‘Motif, memory and meaning’
Parsifal, ed. Nicholas John (London: ENO/ROH Guide 34, 1986): ‘Experiencing
music and imagery’
Richard Strauss: Elektra, ed. Derrick Puffett (Cambridge: CUP,
1989): ‘The orchestration of Elektra: a critical interpretation’
Richard Strauss: Salome, ed. Derrick Puffett (Cambridge: CUP,
1989): ‘Salome: art or kitsch?’
Haydn Studies, ed. Dean Sutcliffe (Cambridge: CUP, 1998): ‘Haydn:
the musicians’ musician’
Janacék Studies, ed. Paul Wingfield (Cambridge: CUP, 1999): ‘Expressive
sources and resources in Janacék’s musical language’
Nexus Institute Proceedings 29 (2001): ‘Some thoughts about
Tristan’
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