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This comprehensive re-evaluation of John Stainer's life and work demonstrates that there was a great deal more to admire beyond The Crucifixion. The thoroughness of the research is impressive, based on profusion of sources, many of them little used until now.... A text that carries great authority, plus (almost equally important) a new and generously annotated list of Stainer's works both musical and literary. At last, Stainer has got his due, once and for all.'NICHOLAS TEMPERLEY, Professor of Music Emeritus, University of Illinois. One of the most important musicians of the Victorianera, Stainer is known for his considerable influence as a composer of Anglican liturgical music, and his corpus of secular works - madrigals and songs - presents many surprises. He was a brilliant organist, a fine scholar, theorist, pedagogue and teacher - multifarious attributes which this study elucidates and understands as part of his wider musical personality. Stainer's life is a story of extraordinary social mobility. From lowly origins he rose to become organist of St Paul's Cathedral and Professor of Music at Oxford. Yet after his premature death in 1901 he suffered almost immediate neglect except for the popularity of a handful of works, among them I saw the Lord and The Crucifixion. In rehabilitating Stainer and the crucial contribution he made to musical life, this book examines the breadth of his work as a composer, and the important role he played in the regeneration of sacredand secular musical institutions in Victorian Britain. JEREMY DIBBLE is Professor of Music at Durham University. His previous books include studies of Parry and Stanford and he is the author of numerous articles on British music. He is currently working on a dictionary of hymnology.

Composers --- Stainer, John, --- Stainer, J. --- Anglican Liturgical Music. --- British Composer. --- Choral Music. --- John Stainer. --- Music Scholar. --- Organist. --- Sacred Music. --- Secular Music. --- Victorian Era.

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By common consent the leading British composer of the twentieth-century's middle decades, Britten continues to create significant contexts for the work of those who survived and succeeded him.

Music --- History and criticism. --- Britten, Benjamin, --- Influence. --- Britten, Edward Benjamin --- Britten, Benjamin --- Britten, Benjamin E. --- Benjamin Britten. --- British composer. --- British composers. --- British music. --- contemporary classical composition. --- modern composers. --- music analysis. --- music history. --- musical influence. --- musical legacy. --- twentieth-century music.

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The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers could not achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary from the new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.

Music publishers --- Wages --- Compensation --- Departmental salaries --- Earnings --- Pay --- Remuneration --- Salaries --- Wage-fund --- Wage rates --- Working class --- Income --- Labor costs --- Compensation management --- Cost and standard of living --- Prices --- Publishers and publishing --- Composers. --- Elgar, Edward, --- Finance, Personal. --- Authors. --- Birmingham University. --- British composer. --- Broadcasting fees. --- Conducting fees. --- Copyright. --- Creative artists. --- Dramatists. --- Earnings. --- Economic forces. --- Elgar. --- English composer. --- Fame. --- Freelance composer. --- Income. --- John Drysdale. --- Money. --- Music publisher. --- Music publishers. --- Nineteenth century. --- Novello Business Archive. --- Painters. --- Performing fees. --- Professions. --- Recognition. --- Record sales. --- Royalty terms. --- Social forces. --- Standard of living. --- Status. --- Twentieth century.