1 Banfield, Stephen, ed., The Blackwell History of Music in Britain: The Twentieth Century (Oxford: Blackwell, 1995)Google Scholar.

2 ‘British Music in the Modern World’, The Blackwell History of Music in Britain: The Twentieth Century, 9–26.

3 ‘British Music in the Modern World’, 18.

4 Harper-Scott, J. P. E., Edward Elgar, Modernist (Cambridge: Cambridge University Press, 2006)CrossRefGoogle Scholar.

5 The programme announcement is archived at <http://goldenpages.jpehs.co.uk/static/conferencearchive/06-5-brm.html>.

6 The proceedings were recorded (video and audio) and are archived at <www.gresham.ac.uk/lectures-and-events/elgar-and-musical-modernism>.

7 The programme is archived at <www.rma.ac.uk/conferences/event.asp?id=110>.

8 See Dibble, Jeremy, C. Hubert H. Parry: His Life and Music, 2nd edn (Oxford: Clarendon, 1998)Google Scholar and Charles Villiers Stanford – Man and Musician (Oxford: Oxford University Press, 2002).

9 Peter Evans, ‘Instrumental Music I’, in The Blackwell History of Music in Britain, 197–277 (182).

10 ‘Instrumental Music I’, 182.

11 A quick scan of iTunes and Naxos Online suggests that a soprano is always used in recordings, but I have heard a concert performance with a tenor.

12 Harper-Scott, J. P. E., ‘Elgar's Deconstruction of the Belle Epoque: Interlace Structures and the Second Symphony’, in Elgar Studies, ed. Harper-Scott, J. P. E and Rushton, Julian (Cambridge: Cambridge University Press, 2007)Google Scholar, and ‘“Our True North”: Walton's First Symphony, Sibelianism, and the Nationalization of Modernism in England’, Music & Letters 98/4 (2008), 562–89.

13 ‘Instrumental Music I’, 185.