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This chronological Index covers every issue of the English Harpsichord Magazine andHarpsichord & fortepiano, vols. i-xxviii, and includes all of the content apart from reports,reviews and advertisements. For a Subject Index (including Interviews and Obituaries)and for an Author Index of articles, see below. The history of the magazine can be foundat Francis Knights, '50 years of Harpsichord & Fortepiano', xxviii/1 (Autumn 2023), pp.4-7.

This book tells the story of Dora Schintz a little-known female philanthropist who inherited a vast fortune and was at one time owner of one of the finest houses in the country. She rose to prominence in the world of hackney horses, gave generously to charity and financed hospitals for incurables and the wounded of The First World War. Her generosity led her to fund an inspired engineer and inventor, which eventually contributed greatly to her financial ruin. Her final years were spent in poor health living in boarding houses until she died alone and in penury.This book will appeal to readers researching women philanthropists at the turn of the 19th century, hackney horse enthusiasts and those with an interest in the history of the various estates where she lived.Born in 1868 into extraordinary wealth founded upon mineral mining in Chile and a fertilizer plant in France but leaving an estate of under £2,000 on her lonely death in 1954, Dora Schintz lived a life of extremes. High society balls, horse-breeding and national equestrian competitions, fast cars and sustained generous philanthropy contrasted sharply with personal frugality, ferocious litigiousness and a surprising financial naivety that ultimately led to bankruptcy and isolation in a residential hotel. A self-confessed loner, she remains an enigma.

'Octave flutes' are deemed to be those whose lowest note lies about an octave above middle C and for the purposes of this book, the 'long eighteenth century' runs from the Restoration of the English Monarchy in 1660 to the Battle of Waterloo in 1815. This date range allows a study not only of octave recorders but also of the flageolet and the emergence of the piccolo as the eighteenth century gave way to the nineteenth: at this time, too, the flageolet enjoyed something of a renaissance. For good measure, the fife - an instrument with a longer continuous history than the recorder, flageolet, or piccolo - is included.Chapters will outline the history, organology, and repertoire of the flageolet, the small recorders, the piccolo, and the fife, and will place the instruments in both musical and social contexts in England in the long eighteenth century. As befits the most popular - and musically most significant - octave flute in England between 1660 and 1815, pride of place will be given to the English 'little flutes', known to us today as soprano and sopranino recorders. Douglas MacMillan is an organologist, music historian, and recorder player living in Guildford, England. He is an independent scholar, holding doctoral degrees from the University of Oxford, the Royal College of Music, and the University of Surrey. Douglas has contributed extensively to the literature on the recorder in the nineteenth century, the English flageolet, on octave recorders, and the English small flute concertos.

Anne Martin worked as a music teacher after graduating from Homerton College, Cambridge with a degree in Music and Education. She became interested in Early Music and the recorder in her twenties and has taught the recorder and conducted recorder groups for many years as well as arranging music, composing and writing. Her interest in the consort music of William Byrd led to the completion of a doctorate at the University of Aberdeen in 2020.

Traditional academic music degrees in England only date from after the Second World War, but are now the invariable way of studying the subject at tertiary level in this country, at both universities and conservatoires. Rising concerns about the cost of such study, and the uncertainty of the careers that may follow it, has left the long-term future of the subject under question. This short book suggests an alternative model of private study, which is both flexible and economical, but sufficiently rigorous and comprehensive to give the student a thorough education in music. The method describes a syllabus designed for classical music, but it could easily be adapted for the study of any other style of music, such as jazz or pop.Francis Knights is a specialist in Renaissance and Baroque music, and his research interests include music analysis, history, source studies and performance practice. For more than 20 years he has taught at several of England's leading universities, and he is also a very active editor, conductor and recitalist.

This book is the first illustrated study of the life and work of J. Alphege Brewer (1881-1946), the early20th-century British artist who made his fame producing large, color etchings of European cathedrals and other historical buildings damaged or threatened during WWI. In both the United States and GreatBritain, these etchings and reproductions were proudly hung on parlor walls in solidarity with theAllied cause and as a remembrance of the devastating cultural losses inflicted by the onslaught of war.Brewer's "à la poupée" technique, carried out in his shop in Acton with the assistance of family members, required the plate to be painted entirely anew for each of the authorized 300-500impressions. With the same "dab hand" at the end of his life, Brewer produced exquisite woodcuts of lakes, mountains, and other pastoral views. Chapters on Brewer's life story, techniques, and the artistic context for his war etchings are included, as well as a catalog of his known etchings.Benjamin S. Dunham is a retired music association executive and magazine editor living near CapeCod in Massachusetts, USA. Because of a family connection to James Alphege Brewer, he began collecting his etchings in 2015 and now researches and manages a well-frequented website about the artist (www.jalphegebrewer.info). Mr. Dunham enjoyed an active career in arts administration and journalism, serving in CEO positions with the U.S. National Music Council, the American SymphonyOrchestra, and Chamber Music America and as editor ofSymphony News, American Recorder, andEarly Music America publications.

Using a microscope, this book looks at the variety of pollen types gathered by a single colony of honey bees in North Wales and examines the relationship with this part of their diet that they work so hard to find.

For beekeepers interested in bee breeding.

Because I can is a collection of poetry and prose about love, longing and living a full life despite all the odds. It is written as one-liners to read quickly, or at leisure depending on your mood, when you feel like you need to hear a voice not unlike your own.

This book, the violet book, brings the series of Beekeeping Study Notes for the British Beekeeper's Association examinations up to date . The series includes the brown book for the Basic, the green and orange volumes for the modules leading to the Intermediate and Advanced Certificates , the red book for the Practical Examination and the blue book for the Microscopy module.These notes address the 85 topics included in the BBKA syllabus for this examination ; an oral and practical assessment held in the Candidate 's apiary. The notes cover all reasonable answers to questions likely to be asked when the Candidate is face to face with the examiner. There are topics in the syllabus new to the BBKA series of examinations , such as public health and safety as overseen by the Environmental Heath Officer in the Candidate 's area ; these are not covered in other books for this examination . The book is up to date with present practice and also up to date with disease terminology that is, unfortunately , continually changing.The Authors , Dawn and John Yates, need no introduction , they have many year 's experience as Master Beekeepers ; they are eminently qualified to prepare these notes for future candidates.