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TRADE BOOKS Spring 2011 Rosewell has done a service to readers, learned and unlearned, by gathering these examples together. TLS What a wonderful contribution this book is! [T]he importance of this book is immense. REFERENCE REVIEWS Praise for the hardback edition: A magisterial compendium of this most elusive English vernacular form. Simon Jenkins, THE GUARDIAN LEARN MORE… One of the most interesting, useful and attractive books on the medieval church to appear for some time. BRITISH ARCHAEOLOGY
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TRADE BOOKS
Spring 2011
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£19.99 / $34.95, March 2011
978 1 84383 484 7 255 colour & 6 b/w illus.; 384pp, PB
Medieval Wall Paintings in English and Welsh ChurchesRO GER ROSEWELL
The first paperback edition of Roger Rosewell’s highly acclaimed guide to this medieval art, surveying the images and iconography that made the medieval church a riot of colour.
Wall paintings are a unique art form, complementing, and yet distinctly separate from, other religious imagery in churches. Unlike carvings, or stained glass windows, their support was the structure itself, with the artist’s ‘canvas’ the very stone and plaster of the church. They were also monumental, often larger than life-size images for public audiences. Wall paintings were also an integral part of church interiors, enhancing devotional imagery and inspiring faith and commitment in their own right, and providing an artistic setting for the church’s sacred rituals and public ceremonies.
With 255 colour illustrations, this book brings together many of the very best surviving examples of medieval church wall paintings. Using new technologies and many previously untried techniques, it allows us to visualize these images as the artists originally intended. The plates are accompanied by an authoritative and scholarly text, bringing the imagery and iconography of the medieval church vividly to life, and the book concludes with an invaluable gazetteer.
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2 www.boydellandbrewer.comCover image: Detail of the Virgin and Child, The Bishop’s Palace, Chichester, mid-thirteenth century. Photograph by and copyright Roger Rosewell.
ROGER ROSEWELL was educated at St Edmund Hall, Oxford University. A former journalist, he is a Director of a private European art foundation and the news editor of the online stained glass magazine, VIDIMUS (www.vidimus.org).
Praise for the hardback edition:A splendid book [...] Mr Rosewell knows what he is talking about, and explains how the paintings were made, what they mean, who paid for them, and how they’ve fared since. Christopher Howse, DAILY TELEGRAPH
A magisterial compendium of this most elusive English vernacular form. Simon Jenkins, THE GUARDIAN
One of the most interesting, useful and attractive books on the medieval church to appear for some time. BRITISH ARCHAEOLOGY
Rosewell has done a service to readers, learned and unlearned, by gathering these examples together. TLS
A well-written and handsomely presented book, certain to appeal to a wide readership. [...] The great strength of the book is in its wonderful colour pictures: of both familiar and unexpected subjects, and usually of higher quality than published before. BBC HISTORY MAGAZINE
How welcome the publication of this book is! [...] It is genuinely exciting to turn the book’s pages and to see these vigorous, relatively unknown designs. THE MEDIEVAL REVIEW
What a wonderful contribution this book is! [T]he importance of this book is immense. REFERENCE REVIEWS
Souls shelter under the cloak of the Virgin Mary: Byford, St John the Baptist.Photograph by and copyright Roger Rosewell.
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£45.00 / $80.00, June 2011
978 1 84383 628 5 12 colour & 82 b/w illus.; 360pp, HB Boydell Studies in Medieval Art and Architecture series
The Art of Anglo-Saxon EnglandCATHERINE E. KARKOV
A fresh appraisal of the art of Anglo-Saxon England, and its influence upon the creation of a national identity.
Two particular perspectives inform this wide-ranging and richly illustrated survey of the art produced in England, or by English artists, between ca. 600 and ca. 1100, in a variety of media, manuscripts, stone and wooden sculpture, ivory carving, textiles, and architecture. Firstly, it examines the way art can both create and narrate national and cultural identity over the centuries during which England was coming into being, moving from Romano-Britain to Anglo-Saxon England to Anglo-Scandinavian England to Anglo-Norman England. Secondly, it treats Anglo-Saxon art as works of art, works that have both an aesthetic and an emotional value, rather than as simply passive historical or archaeological objects.
This double focus on art as an aesthetic vehicle and art as an active political force allows us to ask questions not only about what makes something a work of art, but what makes it endure as such, as well as questions about the work that art does in the creation of peoples, cultures, nations and histories.
The Art of Anglo-Saxon England is the first volume in our new Boydell Studies in Medieval Art and Architecture series.
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The Benedictines in the Middle AgesJAMES G. CLARK
A sweeping, definitive survey of the most important monastic order of the middle ages, one which helped shape the very nature of medieval Europe.
The men and women that followed the sixth-century customs of Benedict of Nursia (c.480-c.547) formed the most enduring, influential, numerous and widespread religious order of the Latin middle ages. Their liturgical practice, and their acquired taste for learning, served as a model for the medieval church as a whole: while new orders arose, they took some of their customs, and their observant and spiritual outlook, from the Regula Benedicti. The Benedictines may also be counted among the founders of medieval Europe. In many regions of the continent they created, or consolidated, the first Christian communities; they also directed the development of their social organisation, economy, and environment, and exerted a powerful influence on their emerging cultural and intellectual trends.
This book follows the Benedictine Order over eleven centuries, from their early diaspora to the challenge of continental reformation.
Also available, the first two volumes in the series:The Franciscans in the Middle AgesMICHAEL ROBSON£16.99 / $34.95, 978 1 84383 515 8
The Other Friars:The Carmelite, Augustinian, Sack and Pied Friars in the Middle AgesFRANCES ANDREWS£25.00 / $47.95, 978 1 84383 258 4
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Introductory price: £25.00 until 31 December 2011, after which it reverts to £30.00.
$50.00, May 2011
978 1 84383 623 0 12 b/w line illus.; 304pp, HB Monastic Orders series
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Thomas BeechamAn Obsession with MusicJOHN LUCAS
Drawing on significant new research, this life of one of Britain’s most influential musicians corrects many of the myths surrounding the often controversial Thomas Beecham.
Thomas Beecham was one of Britain’s greatest conductors of orchestral music and opera as well as an entrepreneur and impresario of exceptional energy and brilliant wit. This acclaimed biography places him – musically, politically and socially – in the troubled times in which he lived and corrects the stories and myths, many of them Beecham’s own making, that have grown up around this uniquely gifted and controversial figure.
Drawing upon extensive research, Lucas presents new material on his early years, his complicated private life, his father’s catastrophic attempt to buy a large part of Covent Garden – which brought the family to its knees financially – and the orchestras and opera companies that Beecham founded. New light is shed on his visits to Nazi Germany and his view of its leaders, as well as the much misunderstood and previously unchronicled years of the Second World War, which he spent in Australia and America.
Thomas Beecham: An Obsession with Music will remain the standard biography for years to come.
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£14.99 / $24.95
978 1 84383 626 1 40 b/w illus.; 400pp, PB
Hans Keller and InternmentThe Development of an Émigré MusicianALISON GARNHAM, edited by CHRISTOPHER WINTLE
The story of influential music critic, Hans Keller’s months in British internment camps in 1940 and its effect on his intellectual development.
After World War II, the musical life of Britain was transformed by the Hitler émigrés . None was more influential than the writer and broadcaster Hans Keller who arrived in London from Vienna in 1938, and who devoted himself to music after hearing Benjamin Britten’s Peter Grimes. His remarkable development was accelerated during the nine months he spent in British internment camps, where from 1940 onwards the deracinated flower of European culture was confined.
This book sets the story of Keller’s internment in the context of what is still a too-little remembered part of British wartime history and traces its remarkable effects in the decade following his release as he gradually found his niche in London life. It includes several important texts, including that of his famous broadcast on the Kristallnacht, ‘Vienna 1938’, a selection of poignant letters from his two camps (in translation) and ends with a spirited memoir by Donald Mitchell of ‘Hans Keller in the Early Years’. It is a remarkable and elegant contribution to our understanding both of Keller’s development and of Britain in the 1940s.
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£17.99 / $29.95, March 2011978 0 95560 878 0224pp, PB
£40.00 / $70.00, March 2011978 0 95560 877 3224pp, HB
PLUMBAGO BOOKS
Lucas’ thorough, exhaustive and often highly amusing biography will...re-establish Beecham as one of the foremost musical personalities of the last hundred years.
CLASSICAL MUSIC
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Three Questions for Sixty-Five ComposersBÁLINT ANDRÁS VARGA
The spontaneous thoughts of some of the world’s greatest composers on their musical development and their reactions to the outside world.
Do today’s composers draw inspiration from life experiences or from, say, the natural world? What influences, past and present, have influenced recent composers? How essential is it for a composer to develop a personal style, and when does this degenerate into self-repetition? These are questions to which many of the most important composers of the late 20th and early 21st century have articulate, sophisticated and revealing responses – and yet which they have rarely, if ever, been asked.
In this pathbreaking book, Bálint András Varga puts these three questions to such renowned composers as Luciano Berio, Pierre Boulez, Hans Werner Henze, György Ligeti, Luigi Nono, Krzysztof Penderecki, Wolfgang Rihm, Karlheinz Stockhausen, Toru Takemitsu, and Iannis Xenakis. Varga’s sensitive English renderings capture the subtleties of their sometimes confident, sometimes hesitant answers.
All statements from English-speaking composers – such as John Cage, Elliott Carter, Steve Reich, and Peter Maxwell Davies – consist of the composers’ own carefully chosen words. Three Questions for Sixty-Five Composers is vital reading for anybody interested in the current state of music and the arts.
The Hungarian music publisher BÁLINT ANDRÁS VARGA has spent nearly forty years working for and with composers. He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis.
Here’s exactly what he asked sixty-five of the world’s greatest composers:
1. Have you had an experience similar to Witold Lutoslawski’s: he heard John Cage’s Second Piano Concerto on the radio – an encounter which changed his musical thinking and ushered in a new creative period, the first result of which was his Jeux vénitiens (1960-61)?
2. A composer is surrounded by sounds. Do they influence you and are they in any way of significance for your compositional work?
3. How far can one speak of a personal style and where does self-repetition begin?
A complete list of the composers featured: Milton Babbitt, Sándor Balassa, Luciano Berio, Sir Harrison Birtwistle, Pierre Boulez, Attila Bozay, Sylvano Bussotti, John Cage, Elliott Carter, Friedrich Cerha, George Crumb, Sir Peter Maxwell Davies, Edison Denisov, Henri Dutilleux, Péter Eötvös, Morton Feldman, Lukas Foss, Alberto Ginastera, Karel Goeyvaerts, Sofia Gubaidulina, Georg Friedrich Haas, Hans Werner Henze, Klaus Huber, Zoltán Jeney, Mauricio Kagel, Georg Katzer, Ernst Krenek, Ladislav Kupkovic, György Kurtág, Helmut Lachenmann, György Ligeti, Witold Lutoslawski, François-Bernard Mâche, Michio Mamiya, Giacomo Manzoni, Paul Méfano, András Mihály, Tristan Murail, Marlos Nobre, Luigi Nono, Krzysztof Penderecki, Goffredo Petrassi, Emil Petrovics, Henri Pousseur, Steve Reich, Wolfgang Rihm, Peter Ruzicka, László Sáry, Pierre Schaeffer, Dieter Schnebel, Alfred Schnittke, Gunther Schuller, Johannes Maria Staud, Karlheinz Stockhausen, András Szollosy, Toru Takemitsu, Dimitri Terzakis, Sir Michael Tippett, László Vidovszky, Wladimir Vogel, Gerhard Wimberger, Christian Wolff, Iannis Xenakis.
Introductory price: £25.00 until 31 December 2011, after which it reverts to £40.00.
$49.95, May 2011
978 1 58046 379 9 1 colour & 40 b/w illus.; 360pp, HB Eastman Studies in Music
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Bálint András Varga is a master at interviewing composers.
MUSIC LIBRARY ASSOCIATION NOTES
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British Spies and Irish RebelsBritish Intelligence and Ireland 1916-1945PAUL MCMAHON
The turbulent and remarkable story of the seemingly endless English/Irish intelligence battle of the first half of the 20th century, with all too timely resonances in the early 21st.
The struggle between British intelligence agencies and Irish revolutionaries has lasted for centuries – and still goes on. But it was at its most intense during the first half of the twentieth century. Ireland experienced a bloody rebellion, bitter partition and a stuttering march towards independence. Britain grappled with imperial decline and world war, while worrying about being stabbed in the back by its Irish neighbour. Using recently opened archives, this book reveals for the first time how intelligence and intelligence agencies shaped Anglo-Irish relations during this formative period.
The book casts light on characters long kept in the shadows – IRA gunrunners, Bolshevik agitators, Nazi saboteurs, British double agents. It shows what happened when Irish revolutionaries stopped fighting, formed governments and started sharing information with London – while doing everything possible to hide this from the Irish public. It also fills in a missing chapter in the history of the British intelligence community, tracing its evolution from amateurish beginnings, through a painful adolescence, to the sophisticated apparatus that is largely still with us
One of the Irish Times’ Books of the Year 2008, in its original hardback edition.
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The British Naval Staff in the First World WarNICHOLAS BLACK
Examines the role of the Naval Staff of the Admiralty in the 1914-1918 war, reassessing in depth its calibre, function and structure, and judging how it fared in waging a new kind of naval warfare.
Nicholas Black challenges historians such as Arthur Marder and naval figures such as Captains Herbert Richmond and Kenneth Dewar who were influential in creating the largely bad press that the Staff has received, showing that their influence has, at times, been both unhealthy and misinformed.
The way in which the Staff developed during the war from a small, overstretched and often manipulated body, to a much more highly specialised and successful one is also examined, reassessing the roles of key individuals such as Jellicoe and Geddes, and suggesting that the structure of the Staff has been misunderstood and that it was a rather more sophisticated body than historians have traditionally appreciated.
Black also looks at how the Staff performed in various major naval issues of the war: the role of the Grand Fleet, the war against the U-boat, the Dardanelles Operation and the implementation of the economic blockade against Germany. Overall, the book complements, and at times challenges, both operational histories of the war and biographies of the leading individuals involved.
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£14.99 / $24.95, April 2011
978 1 84383 655 1 8 line illus.; 352pp, PB
£19.99 / $34.95, April 2011
978 1 84383 656 8 38 b/w illus.; 528pp, PB History of British Intelligence series
The writing is compelling, seamlessly integrating for the reader’s delectation the stories of cowards and cads, heroes and buffoons, and smart spies and foolish politicians. Highly recommended. CHOICE
[An] elegantly written and well-researched volume. [...] This is an illuminating study that will have a major impact on histories of the First World War. HISTORY
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