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PRESS INFORMATION EMBARGOED UNTIL 00:01 GMT TUESDAY, 5 APRIL 2016 Future Programme professional teams Lead Designer, Windsor Castle Purcell has been appointed to lead the multidisciplinary design team; advising, managing and coordinating the project from design concept to implementation. Purcell is a leading architectural practice with studios throughout the UK and in Asia Pacific. The practice is highly regarded for their heritage and design work within sensitive and complex sites. The practice has previously completed projects at Kensington Palace, Hampton Court Palace, Dover Castle, Wells Cathedral, the National Maritime Museum, Greenwich and Tower Bridge. Lead Designer, Palace of Holyroodhouse Set up by Catherine Burd & Buddy Haward in 1998, Burd Haward Architects has a reputation for making award-winning, carefully crafted, authentic, sustainable buildings. The practice works across a diverse range of building types and has led projects at a number of high-profile architecturally sensitive historic sites, including Chastleton House, Red House and Chartwell. Their new ‘Welcome Centre’ for the National Trust at Mottisfont Abbey in Hampshire is currently shortlisted for a 2016 RIBA Award. The design team includes: Exhibition Design – Nissen Richards Environmental Engineers – Max Fordham LLP Landscape Architects – J&L Gibbons Structural Engineers – David Narro Associates Cost Consultants Mace is an international consultancy and construction company, employing over 4,600 people, with a turnover of £1.49bn. Mace’s business is programme and project management, cost consultancy, construction delivery and facilities management. Mace has worked on projects at many high-profile listed buildings including The British Museum, the Parliamentary Estate and Senate House (School of Oriental and African Studies), Tate Modern Gallery and the Ashmolean Museum. Project Managers Lendlease Consulting (Heritage and Arts) provides consultancy for every stage of the project life cycle – from inception to completion. Lendlease Consulting is part of the global Lendlease property group and provides project management and consultancy services. Lendlease Consulting has a 16 year relationship with the Victoria & Albert Museum delivering over 30 projects, is a key project management partner of the Parliamentary Estates Directorate, and has also successfully completed commissions at the British Museum, Tower of London and Tate Britain. Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.royalcollection.org.uk .

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Julian Marshall and the British Museum: Music Collecting in the Later Nineteenth Century
JULIAN MARSHALL AND THE BRITISH MUSEUM: MUSIC COLLECTING IN THE LATER NINETEENTH CENTURY ARTHUR SEARLE IN the second volume of Sir George Grove's Dictionary of Music and Musicians^ which appeared in 1880, there is a descriptive list of private music libraries in the British Isles.* First, understandably enough, is the Royal Music Library at Buckingham Palace; the next two libraries listed are those of Sir Arthur Frederick Gore Ouseley and of Mr Julian Marshall. The entire Royal Music Library is now in the British Library by royal gift; the whole of Ouseley's collection passed to his foundation of St Michael's College, Tenbury. These two libraries have been catalogued in some detail and both the process of their assembly and the personalities involved have been explored.^ Only two substantial parts of Marshall's collection remain intact: his printed Handel scores and libretti, now in the National Library of Scotland, and the major part of his manuscript music in the British Library.^ Marshall's name remains almost unknown, and to many musicologists his book- plate, which is still easy enough to encounter, complicates rather than simplifies the problem of provenance. The only source for the basic facts of Marshall's life is the brief notice of him given in the Dictionary of National Biography. He was born in Yorkshire in 1836, the younger son of an industrial and political family, was educated privately and at Harrow, and, for a while in the later 1850s, worked in the family flax spinning business. During those years he sang in the choir of Leeds parish church under Samuel Sebastian Wesley and played a part in the establishment ofthe first Leeds festival in 1858.
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Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
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1781.97 reference collection book ansas city r . lie library Kansas city, missouri HENRY PURCELL 1659-1695 A PRELIMINARY BIBLIOGRAPHY Compiled by students of the Department of Library Science, Kent 'State University, and edited by Jerry L. Grim, III. Eiis preliminary bibliography was prepared for distribution at the Symposium on the Music of Henry Purcell, May 28 , 1966, at the Kansas City, Missouri, Public Library. The members of the Sympositon are indebted to Guy A* Marco,, Chairman of the Department of Library Science, Kent State University, the students of "Library Science if80," and to the editor, Jerry L* Grim, PREFACE This preliminary bibliography has been compiled by the members of lt "Library Science *ltflO, Music Bibliography, a course offered to students of both music research and of music librarianship at Kent State Univer sity, Kent, Ohio, Members of the class were: Ruth C* Main, Kenneth R. Brenneman, Jerry L. Grim III, David So Harris, William Moon, and Wayne C* Wantzel, advised by Dr. Guy A. Marco, Chairman, Department of Library Science 5 instructor in the course. Principal sources consulted were; Biblio. Biographish-Bibliographisches Quellen-Lexicon der MusiKer und Musikgelehrten der Christlichen Zeitrechrung bis zur Mitte des Meuvzehnten Jahrhunderts. Biography Index. Blom; General Index to Modern Musical Literature. British Museum General Catalogue of Printed Books ; Photolitho graphic edition. British National Bibliography. Catalog of Books Represented by Library of Congress Printed Cards + Catalogue generale de Bibliotheque Nationale. Catalogue of the London Library, and supplements. Catalogue of the Printed Books in the Library of the British Museum and supplement. Cumulative Book Index; a World List of Books in the English Language.
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