Dr Warwick Edwards

  • Honorary Senior Research Fellow (Music)

telephone: 01413305288
email: Warwick.Edwards@glasgow.ac.uk

Research interests

Warwick Edwards won a scholarship to King's College Cambridge in 1963, proceeding from an Honours degree in Music to a postgraduate MusB before embarking on a PhD on the sources of Elizabethan consort music, completed in 1974. He was appointed lecturer at the University of Glasgow in 1971, promoted to Senior Lecturer in 1986 and to Reader in 1998.

His printed publications include editions of Music for Mixed Consort in the series Musica Britannica, two of Byrd's Latin motets from MS sources for the collected edition, and three seventeenth-century Italian operas. Published articles cover aspects of sixteenth-century instrumental music, 'songs without words' from c.1500, and matters to do with words and music in medieval song, with cross references to parallel performance traits in the traditional music of Romania and the Mediterranean. He is committed to stimulating research on the Music of Scotland, through co-general editorship (with James Porter) of the series of publications so named. The volumes are intended to make Scottish historical musical source materials accessible to all in refereed editions and studies judged to meet the highest international scholarly standards.

Equally at home as performer and impresario, Warwick Edwards joined the Scottish Early Music Consort in 1973, becoming its musical director three years later. In the ensuing 21 years he devised or commissioned dozens of projects for the company, ranging from small-scale schools events, through broadcasts and recordings, to the performance of fully staged medieval entertainments and seventeenth-century operas. The Consort's travels took it to Israel, the USA, Portugal, Poland, West Germany, Belgium, Italy and Ireland, as well as Scotland, Wales and England. At home its popular subscription concerts in Glasgow, Edinburgh and Aberdeen enjoyed a reputation for attracting capacity houses.

From 1990 to 1997 Warwick Edwards also directed the Glasgow International Early Music Festival, the largest event of its kind in the United Kingdom. It featured artists from all over the world in concerts, music-theatre, opera, instrument makers exhibitions, fringe performances and workshops. Further information on the former Scottish Early Music Consort and the Glasgow International Early Music Festival can be found here.

Current research activities include a book on word rhythms in medieval music (partly pre-published in conference papers detailed below), an edition of the fourteenth-century Scottish 'Inchcolm antiphoner' for The Music of Scotland, and copy-editing for two further Music of Scotland volumes currently in press.


Additional Information

  • Editions
    • Music for Mixed Consort, Musica Britannica, 40 (London: Stainer & Bell, 1977, repr. with minor revisions, 1985); xxv, 163 pp; RILM 80-04461-cw
    • W. Byrd: Latin Motets I (from Manuscript Sources), The Byrd Edition, 8 (London: Stainer & Bell, 1984); xviii, 223 pp; RILM 98-03346-cw
    • Marco Marazzoli, La Vita Humana (Glasgow: Scottish Early Music Consort, 1996); xvi, 243 pp; RILM 00-09843-cw
    • Antonio Abbatini, La Baltasara (Glasgow: Scottish Early Music Consort, 1996); xvi, 279 pp
    • William Byrd: Fantasia, reconstructed, in Early Music Review (1995)
    • Francesco Cavalli, La Didone, working performance edition (Glasgow: Scottish Early Music Consort, 1997); 311 pp
    • W. Byrd: Latin Motets II (from Manuscript Sources), The Byrd Edition, 9 (London: Stainer & Bell, 2000); xix, 202 pp; RILM 00-04806-cw
  • Co-authored editions
    • Marco Marazzoli and Giulio Rospigliosi, La Vita Humana: Libretto (Rome, 1658), ed. Kate Brown and Warwick Edwards (Glasgow: Scottish Early Music Consort, 1990); 56 pp; RILM 00-09818-cw
    • Antonio Abbatini and Giulio Rospigliosi, La Baltasara: Libretto (Rome, 1668), ed. Kate Brown and Warwick Edwards (Glasgow, 1992)
    • Joseph Haydn: Volkslied-Bearbeitungen, Nr. 151 – 268, Schottische Lieder für George Thomson, ed. Marjorie Rycroft, in conjunction with Warwick Edwards and Kirsteen McCue, Joseph Haydn Werke, 32/3 (Munich, 2001); xxi, 385 pp; RILM 01-07988-cw
    • Joseph Haydn: Volkslied-Bearbeitungen, Nr. 269 – 364, Schottische und Walisische Lieder für George Thomson, ed. Marjorie Rycroft, in conjunction with Warwick Edwards and Kirsteen McCue, Joseph Haydn Werke, 32/4 (Munich, 2004); xxiii, 327 pp; RILM 04-02900-as
  • Articles
    • ‘The Performance of Ensemble Music in Elizabethan England’, Proceedings of the Royal Musical Association, 97 (1970–71), 113–23; RILM 73-02552-ap
    • ‘Walsingham Consort Books’, Music & Letters, 55 (1974), 209–14; RILM 75-00562-ap
    • Commentary to John Dowland, Lachrimae, facsimile, Leeds, 1974; 6 pp
    • Revisions and new articles for all ‘pre-classical’ entries. In Collins Encyclopedia of Music, ed. J. Westrup and F. Ll. Harrison, rev. C. Wilson (London: Collins, 1976); 608 pp, of which, say, one quarter.
    • ‘The Instrumental Music of Henry VIII’s Manuscript’, The Consort, 34 (1978), 274–82; RILM 78-02565-ap
    • Articles in The New Grove Dictionary of Music and Musicians (London, 1980, rev. 2001)
      • ‘Consort’ (4 pp.)
      • ‘Nomine’ (4 pp.)
      • ‘Sources of Instrumental Ensemble Music to 1630’ (16 pp.)
      • ‘Wayes’ (1 p.)
    • ‘Songs without Words by Josquin and his Contemporaries’, Music in Medieval and Early Modern Europe, ed. I. Fenlon (Cambridge, 1981), pp. 79–92
    • ‘Text Underlay in Marguerite of Austria’s Chanson Album Brussels 228’, Muziek aan het Hof van Margaretha van Oostenrijk (Peer, Belgium: Musica, 1987), p. 33–47; RILM 87-06874-as
    • In Nomine, sleevenotes, Fretwork, sound recording, CD (Saydisc).
    • ‘Parallel Performance Traits in Medieval and Modern Traditional Mediterranean Song’, Revista de Musicología (Madrid), 16 (1993), 27–35; RILM 97-09657-as
    • ‘Phrasing in Medieval Song: Perspectives from Traditional Music’, Plainsong and Medieval Music, 5 (1996), 1–22; RILM 96-12097-ae
    • ‘Burgundian Verse Sung’, Revue belge de philologie et d'histoire, 78/2 (2000), 339–58
    • ‘Chant in Anglo-French Scotland’, Isobel Woods Preece, ‘O ur awin Scottis use ’ : Music in the Scottish Church up to 1603, ed. Sally Harper (Glasgow and Aberdeen, 2000), 201–24
    • ‘Polyphony in Thirteenth-Century Scotland’, ibid., 225–71
    • Additional Articles in The Revised New Grove Dictionary of Music and Musicians (London, 2001)
      • ‘Allison, Richard’ (2pp)
      • ‘Holborne, Antony’ (2pp)
      • ‘Reade, Richard’ (2pp)
    • ‘ “Laying the Lay” and “Patterns in Play”: Verbal Cognition in Medieval–Renaissance song’, Early Music - Context and Ideas: International Conference in Musicology, Kraków, 18–21 September 2003 (Kraków: Institute of Musicology, Jagiellonian University, 2003), 354–8
    • ‘New Insights into the Chronology of Haydn's Folksong Arrangements: Reading between the Lines of the George Thomson Correspondence’, Haydn-Studien, viii/4 (2004), 325–40
    • ‘Alexander Agricola and Intuitive Syllable Deployment’, Early Music, 34/3 (August, 2006), 409–26
    • ‘Agricola's Songs Without Words: The Sources and the Performing Traditions’, Alexander Agricola: Musik zwischen Vokalität und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch für Renaissancemusik, 6 (Kassel: Bärenreiter, 2006), 83–121; ISBN 978-3-7618-1993-7
    • ‘The Musical Sources’, Defining Strains: The Musical Life of Scots in the Seventeenth Century, ed. James Porter (Oxford: Peter Lang, 2007), 47–72; ISBN 978-3-03910-948-7 
    • The Walsingham Consort Books, sleevenotes, La Caccia, sound recording, CD (Ricercar, 2008). Recording made chiefly after items in my edition Music for Mixed Consort (1977), see above.
    • ‘Isaac’s Pre-Italian Songs: An Over-Optimistic Hand-List’, Essays on Renaissance Music in Honour of David Fallows, ed. Fabrice Fitch and Jacobijn Kiel (Woodbridge: Boydell & Brewer, 2011), 198–206; ISBN 978-1-84383-619-3
    • ‘Word Setting in a Perfect Musical World: The Case of Obrecht’s Motets’, Journal of the Alamire Foundation, 3/1 (2011), 52–75; ISSN 2032-5371
    • ‘Text Treatment in Motets around 1500: The Humanistic Fallacy’, The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste (Turnhout, 2012), 113–38; ISBN 978-2-50352-566-2
    • `Understanding Chansonniers', Journal of the Royal Musical Association, 138/1 (2013); in press
    • ‘The Great Word–Note Shift’, Notation and Practice: Essays in Musical Performance and Textuality , ed. Ronald Woodley (Cambridge University Press); in preparation
  • Public lectures, and papers read to learned societies
    • ‘The Performance of Ensemble Music in Elizabethan England’ (Royal Musical Association, London, 3 April 1971); published 1970–1
    • ‘Words, Music, and the Twilight of the Medieval Chanson’, Abstracts of Papers Read at the 48th Annual Meeting of the American Musicological Society, University of Michigan, Ann Arbor, November 4–7, 1982, ed. D. K. Holoman, p. 41
    • ‘Text Underlay in Medieval Song’, University of Chicago (1982); Claremont Graduate School (Claremont, Calif.), University of California at Los Angeles, Santa Barbara and Davis, American Musicological Society New England Chapter, Harvard University (1983); North Western University (Evanston, Ill.), Annual Conference of Music Research Students, Manchester University (1984)
    • ‘Fifteenth-Century Chanson, Motet and Mass, and Music written for Instrumental Ensemble’ (Harvard University, 1 March 1983)
    • ‘Dufay's Approach to Setting Words: Text Underlay Style’, Nineteenth Annual Congress on Medieval Studies (Western Michigan University, Kalamazoo, 1984)
    • ‘Isaac's Songs Without Words’, Colloquium on Secular Music of the European Renaissance (Rutgers University, New Brunswick, 1985); Thirteenth Annual Conference on Medieval and Renaissance Music (Nottingham University, 1985)
    • ‘Parallel Concepts of Phrasing in Medieval and Traditional European Song’, European Seminar on Ethnomusicology (Geneva, 1991)
    • ‘Parallel Performance Traits in Medieval and Modern Traditional Song’, International Musicological Society (Madrid, April 1992), Annual Conference on Medieval and Renaissance Music (Newcastle, July 1992), Queen's University Belfast (1992); published 1993
    • ‘Glasgow's international early music festival’, International Musicology Symposium and Third Early American Music Festival (Caracas, 1994)
    • ‘Songs Without Words at the Courts of Sigmund of Tyrol and Maximilian I’, Austria, 996–1996: Music in a Changing Society (Ottawa, 1996)
    • ‘Burgundian Verse Sung’, Au Carrefour des epoques: la ville bourguignonne sous les ducs valois(University of Edinburgh Centre de Recherches Francophones Belges, 1996); published 2000
    • ‘Sounds Deceptive: Parlando-rubato in East-European Song’, British Forum for Ethnomusicology (Cambridge, March 1998)
    • ‘Singing the Inchcolm St Columba chants’, Med–Ren Conference (York, 15–18 July 1998)
    • ‘Syllabic rhythm: perspectives on medieval song performance from eastern European tradition’, European Seminar for Ethnomusicology (Jerusalem, 31 August 1998)
    • ‘Questions of Authentication: Haydn's revisions’, part of session on Haydn’s settings of Scottish airs for George Thomson, International Association of Music Librarians (Edinburgh, 8 August 2000); by invitation
    • ‘ “Dire la chanson”: Rhetorical Structures in Medieval and Traditional East-European Song’, International Musicological Society Intercongressional Symposium (Budapest, 23–8 August 2000); with financial support from the British Academy
    • ‘Scottish Musical Sources: Medieval’, part of panel session, American Musicological Society (Toronto, 1–5 November 2000)
    • ‘Rhetorical Structures in the Performance of Traditional Songs in the Mediterranean’, Traditional Music of the Mediterranean (Centre of Mediterranean Studies at the University of Leeds, 17 February 2001)
    • ‘Oral and written tradition in chant composition: a case study from medieval Scotland’ (Paszto, Hungary, 2001); by invitation, and with financial support from the Hungarian Institute of Musicology
    • ‘Towards a taxonomy of the contents of Odhecaton, Canti B and Canti C’, Venezia 1501: Petrucci e la stampa musicale (Venice, 2001); by invitation, and with financial support from the Fondazione Levi
    • ‘Music related to the Royal Court at Stirling Castle’, Annual Meeting, Making Music Scotland (Stirling, 12 May 2001); commissioned speaking engagement
    • ‘Scottish Musical Sources: The Task Ahead’, keynote lecture, University of Aberdeen Colloquium on Scottish Musical Manuscripts, 12 January 2002 
    • ‘ “Laying the Lay” and “Patterns in Play”: Verbal Cognition in Medieval–Renaissance song’, International Musicological Society (Leuven, 1–7 August 2002); with financial support from the British Academy; revised presentation, Early Music – Context and Ideas, International Conference in Musicology (Kraków, 18–21 September 2003); published 2003
    • ‘New insights into the chronology of Haydn’s folksong arrangements: reading between the lines of the George Thomson correspondence’, Haydns Bearbeitungen schottischer Volkslieder, Joseph Haydn-Insitut (Cologne, 21–2 June 2002); by invitation, and with financial support from the Joseph Haydn Institut; published 2004
    • ‘Composing with and without words: what musical sources tell us and what music theory doesn’t’, Medieval–Renaissance Music Conference, Institut für Musikwissenschaft Weimar–Jena (Jena, 31 July – 3 August 2003); by invitation, and with financial support from the DFG
    • ‘Andrew Blaikie (1774–1841): Engraver, antiquarian and musician’, Symposium: Thistle, Rose and Fleur-de-Lys (University of Aberdeen, 15–16 November 2003), Royal Musical Association Annual Conference (Manchester, 4–6 November 2005)
    • ‘Isaac's early working life’, Annual Med–Ren Conference (Tours, July 2005)
    • ‘The Loire Valley Chansonniers and Intuitive Syllable Deployment’, ibid.
    • ‘Word setting and the process of musical composition, transmission and performance: The case of Obrecht’s motets’, Jacob Obrecht: The Quincentenary Conference (Antwerp: Alamire Foundation, 26–8 August 2005); by invitation
    • ‘Music beyond measure: East-European traditional rhythm as paradigm for medieval song and antidote to musico-ecological catastrophe’, University of Newcastle (12 October 2005), University of Wales, Bangor (6 December 2005); Durham University (15 March 2006)
    • ‘Josquin and the rhythm of words’, Ars musica septentrionalis: De l’historiographie a la valorisation du patrimoine musical (Douai / Cambrai, 24–6 November 2005)
    • ‘Bartók, Parlando-Rubato, and Music Beyond Measure’, Bartók's Orbit (Budapest, 22–4 March 2006); by invitation, and with financial support from the Hungarian Institute of Musicology
    • ‘Agricola’s Songs Without Words: The Sources and the Performing Traditions’, Agricola Symposium (Trossingen, Germany, April 2006); by invitation, and with German Government financial support); published 2006
    • ‘Intuitive syllable deployment: The case of Brussels 5557 and its concordant sources’, American Musicological Society Annual Meeting, Los Angeles, 2–5 November 2006
    • ‘The motet c.1500: text treatment and the Humanistic Fallacy’, On the relationship of imitation and text treatment? The Motet around 1500, University of Wales, Bangor, 29 March – 1 April 2007; by invitation, to be published 2012
    • ‘The Great Word–Note Shift’, Med–Ren Music, Vienna (8–11 August 2007), All Souls Oxford (29 January 2009), to be published
    • ‘Music Beyond Measure: Towards a Cognitive Approach to the Rhythms of Medieval Song’, Med–Ren Music, Utrecht (1–4 July 2009); American Musicological Society Annual Meeting, Philadelphia (12–15 November 2009)
    • 'Medieval Music Manuscripts from Fife’, Symposium on Scottish Sacred Music, Pluscarden Abbey (1–3 September 2009)
    • ‘Syllable Deployment, c.1500: An Illustrated Guide with Reference to the Music of Isaac’, Med–Ren Music, Barcelona (5–8 July 2011).
    • ‘Word Rhythms in Medieval Song’, Medieval Song Workshop, London (12–14 September 2011)
    • ‘Thomas Wode: A Scots Monk, his Illuminated Music Books, and his Reformation’, Symposium: Singing the Scottish Reformation, Edinburgh University (1 October 2011)
    • The “Gothic Revolution” and the Rhythms of Words’, The Gothic Revolution, Princeton (4–6 November 2011)
    • ‘Words and Music c.1500: The Humanistic Fallacy’, Edinburgh University Colloquium (19 January 2012)
    • ‘Music in Medieval St Andrews’, Mediaeval Weekend, St Andrews (18–19 February 2012)
    • ‘Thomas Wode: A Scots Monk, his Music Books, and his Reformation’, Language, Literature and Liturgy in Reformation-era Britain and Ireland, Queen’s University Belfast, 13 April 2012
    • Early Musical Notations (and why they matter to performers today)’, National University of Music, Bucharest (17 May 2012)
    • Isaac’s La mi la sol Fantasia-Motet and its context’,  Med-Ren Music, Nottingham (8-11 July 2012)
    • `A project-in-progress: Thomas Wode’s music manuscripts', Music Study Day, Christ Church, Oxford (2 November 2012)
  • Broadcasts and Recordings
    • The following broadcasts were managed and, except where otherwise indicated, researched, devised and directed by Warwick Edwards as artistic director of the Scottish Early Music Consort:
      • Machaut: Lai de la fontaine (BBC Radio Scotland, 1978, repeated on Radio 3, 1980)
      • Auld Alliance (BBC Radio Scotland, 1980)
      • Auld Alliance (Scottish Television studio recording, 1981)
      • Old and New, with Edward Harper (BBC television recording, 1981)
      • Maximilian (BBC Radio Scotland, 1981)
      • Oswald von Wolkenstein (BBC Radio Scotland, 1984)
      • Monteverdi: Orfeo, extracts (Pelicula Films for Channel 4 TV, 1984)
      • Auld Alliance (WGBH Boston, USA, 1985)
      • Mary’s Music: Songs and Dances from the Time of Mary Queen of Scots, Scottish Early Music Consort, W. Edwards, director, Chandos Records LP/cassette ABRD/ABTD 1103, compact-disc CHAN 8332 (London, 1984); reissued as compact-disc CHAN 0529 (1992)
      • Robert Burns, Scottish Early Music Consort, C. Field director, Chandos Records LP/cassette ABRD/ABTD 1324, compact-disc CHAN 8636 (London, 1988); reissued as Auld Scottish Sangs: Scots songs collected by Robert Burns, compact-disc CHAN 0581 (1995)
      • Tears of Joy, extracts, ‘NB Arts’ (Scottish Television, 7 December 1989)
      • Distant Echoes, ‘The Late Show’ (BBC2 TV, April 1993)
    • See also broadcast concerts in the section following. In addition, countless radio and television interviews.
  • Historical Concert Programmes
    • The following professional public performances were managed and, except where otherwise indicated, researched, devised and directed by Warwick Edwards as artistic director of the Scottish Early Music Consort. The published programme books, compiled by and/or edited by Warwick Edwards, are deposited in the National Library of Scotland.
      • La Louange des dames: Music from Medieval France, Glasgow 1977; St Andrews, Aberdeen, Glasgow, 1978; Durham 1979; Glasgow, Not tingham, Sheffield, Leeds 1980; Gordonstoun, Carlisle, Manchester 1981
      • Pastime with Good Company: Music from the Royal Courts of Renaissance Europe, Glenalmond, Bearsden 1977; Glasgow 1984
      • The Emperor Maximilian and Music, Milngavie, Glasgow 1978, Cumbernauld, Skye, Strathaven, Stirling 1980; Kirkcudbright 1981; Glasgow (broadcast Radio Clyde) 1983
      • The Auld Alliance: Renaissance Music from Scotland and France, Edin burgh, Glasgow 1979; Aberdeen, Glenkens 1980; Linlithgow 1981; Dunblane, Israel (Shefayim ' twice ' Evron, Givat Haviva) 1982; Greenock, Kendal, Culzean 1983; Langbank (twice), Edinburgh, Glasgow 1984; Wellesley (Mass.), New York, Algarve Festival Portugal (Portimão, Faro), Northern Ireland (Coleraine, Jordanstown, Londonderry) 1985
      • Scaramella: Renaissance Music from Italy, Glasgow 1979; Tain 1980; Bearsden 1981; Dunfermline, Shefayim (Israel) 1982; Thurso, Glenkens 1984
      • Oswald van Wolkenstein, Glasgow 1981; Glasgow (broadcast Radio Clyde), St Andrews 1984o Matthew Locke and Henry Purcell, dir. W. Edwards and C. Field, Glasgow 1980
      • Homage to Ockeghem, Glasgow, Edinburgh 1980; Glasgow 1981; Glasgow 1987
      • William Byrd, Glasgow 1981
      • Le Roman de Fauvel, Glasgow 1981 (twice); Orkney, Shetland 1982; Glasgow, Edinburgh, Glasgow (Mayfest), 1988; Edinburgh University (Renceswals Conference), 1991
      • Music from the Court of Burgundy, Glasgow (broadcast Radio Clyde), Edinburgh, St Andrews 1982
      • Orlando Gibbons, dir W. Edwards and C. Field, Glasgow (broadcast Radio Clyde), 1983
      • Tristre plaisir: Songs by Binchois and Dufay, Glasgow, 1984
      • Mary’s Music: Songs and Dances from the Time of Mary Queen of Scots, Glasgow (broadcast Radio Clyde), Edinburgh, 1984; Lagos (Portugal), Edin burgh International Festival, Poland (Grudziadz, Warsaw, Krakow), 1985; Glasgow, 1986; Edinburgh, St Andrews, Oundle, Edinburgh, 1987; Flanders Festival (Bruges) 1988
      • Chanterai por mon coraige: Medieval Songs of Love and War, Jerusalem (three performances, broadcast Israel Radio), Glasgow, 1984; Bydgoszcz (Poland, broadcast Gdansk TV), 1985; Warsaw, 1987; Edinburgh International Festival, 1987; Berlin, 1988; Orkney Festival, 1989 (broadcast BBC Radio Scotland); Glasgow, Aberdeen, 1995
      • Monteverdi: Songs of Love and War, dir. C. Field, Jerusalem (2 performances), 1984; Edinburgh International Festival, 1988; Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), Galashiels, 1991
      • Orlando di Lasso: Le lagrime di San Pietro, (broadcast Radio Clyde) Glasgow, 1985; Glasgow, Aberdeen 1995
      • Secular Music of the European Renaissance, New Brunswick (New Jersey), 1985
      • The Songbook of Louis de France, dir. F. Dunlop and W. Edwards, research by D. Johnson, Edinburgh International Festival, 1985; Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1989
      • Music from the Time of Lorenzo the Magnificent, Glasgow, Fort William, 1985; Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1990
      • Heinrich Schütz: The Christmas Story, dir. M. Rycroft, Glasgow, 1985; Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1991
      • Henry Lawes, dir. C. Field, Glasgow, 1986
      • Carmina Burana, Glasgow, St Andrews, 1986; Glasgow (Mayfest), 1988; Edinburgh (Queen's Hall), 1990
      • Bach and Vivaldi, Edinburgh, 1986
      • ‘Wi’ a cog o’ gud swats’, dir. C. Field, Edinburgh International Festival, Glasgow 1986
      • An Anglo-Burgundian Tapestry, Glasgow (2 performances), 1986; Warsaw, 1987
      • Geminiani and the Enchanted Forest, dir. C. Field, Glasgow, 1987
      • Concert to celebrate the Tercentenary of the Revival of the Order of the Thistle, Edinburgh, 1987
      • Lovers, Learners and Libations: Music from 13th-century Paris, Glasgow, 1988; Glasgow (Mayfest), Orkney Festival, 1989 (broadcast Radio Scotland); London (Wigmore Hall), 1990
      • Monteverdi: Vespro della Beata Vergine, dir. M. Rycroft, Glasgow, 1988
      • The Viennese Trumpet Experience, dir M. Rycroft, Glasgow, Edinburgh, 1988
      • Robert Burns, dir. C. Field, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen's Hall), Dundee, 1989
      • Dowland, etc: Tears of Joy, dir. W. Edwards and C. Field, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1989
      • Planctus Mariae / Peregrinus: Medieval Music Dramas, Glasgow (Cathedral), Edinburgh (Old St Paul's), 1989; revived as Medieval Easter Dramas, Glasgow Cathedral, Edinburgh (Old St Paul's), 1992; Aldeburgh (Snape Maltings), 1993; London (Covent Garden Festival, 2 performances), 1994
      • The Virtuoso Cello, dir. M. Rycroft, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1990
      • The Feast of the Pheasant [15th-cent. French], 3 performances, Glasgow (Tramway), 1990
      • Marazzoli and Rospigliosi: La Vita Humana (1656), opera, 2 performances, Glasgow (Tramway), 1990
      • Handel: Samson, dir. T. Koopman, Glasgow (University), Edinburgh (Queen’s Hall), 1990 [programme book includes first modern edition by Warwick Edwards of the 1743 libretto]
      • O rosa bella [Johannes Ciconia], Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1990
      • Abbatini and Rospigliosi: La Baltasara (1668), opera, 2 performances, Glasgow (Tramway), 1992
      • Henry Purcell, dir. A. George and L. Russell, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1991
      • Music and Dance from Medieval Spain, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1992
      • The Shortest Operas in the World, dir. K. Brown and L. Russell, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1992
      • William Byrd, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), 1992
      • The Zelenka Lamentations, dir. L. Russell, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), Aberdeen (Cowdray Hall), 1993
      • Bach and Telemann, dir. G. Squire, Aberdeen (Cowdray Hall), 1993
      • Distant Echoes, Glasgow (Royal Scottish Academy of Music and Drama), Edinburgh (Queen’s Hall), Aberdeen (Cowdray Hall), 1993
      • Bravissimo Bach!, dir. G. Squire, Glasgow (Royal Scottish Academy of Music and Drama), Aberdeen (Cowdray Hall), Kirkcudbright (Parish Church), 1993
      • Monteverdi: Scenes of Love and War, dir. K. Brown, Birmingham Early Music Festival, Culloden Academy Community Theatre, Skerray Village Hall, Poolewe Village Hall, Broadford Village Hall, Plockton High School, Belfast Festival at Queen’s, Glasgow (Royal Scottish Academy of Music and Drama), Aberdeen (Cowdray Hall), Kirkcudbright (Parish Church), 1993
      • Palestrina and the Garden of Love, Glasgow (Royal Scottish Academy of Music and Drama), Aberdeen (Cowdray Hall), Kirkcudbright (Parish Church), 1994
      • Rants and Reels, dir. G. Squire, Glasgow (Royal Scottish Academy of Music and Drama), Aberdeen (Cowdray Hall), Kirkcudbright (Parish Church Hall), 1994
      • Dryden and Purcell: The Indian Queen, dir. K. Brown and G. Squire, Glasgow (Citizens Theatre, 3 performances), 1994
      • Coffee and a Blaze of Trumpets, dir. G. Squire, Edinburgh, Glasgow, Aberdeen, Dumfries, Dundee, 1995
      • Celebrating Mr Purcell, dir. K. Brown, W. Edwards, G. Squire, Glasgow (Mayfest, 2 performances), London (Covent Garden Festival, 2 performances), 1995
      • St Kentigern’s Easter Journey, dir. K. Brown, W. Edwards, St Asaph (North Wales Festival), 1995; Glasgow (Cathedral), 1997
      • ‘Charlie is my darling’, dir G. Squire, Glasgow, 1995
      • Bach: The Christmas Oratorio, dir. G. Squire, Edinburgh, Glasgow, 1995
      • Lady Hamilton’s Attitudes, dir K. Brown, Aberdeen, University of Glasgow, London British Museum, 1996
      • Guillaume de Machaut, Glasgow (Royal Scottish Academy of Music and Drama), 1996
      • Celebrating Mr Purcell, dir. K. Brown, G. Squire, Glasgow (Mayfest, 2 perfs), London (Covent Garden Festival, 2 perfs), 1996
      • Magic and Madness: Handel on the Wild Side, dir. G. Squire, University of Glasgow, 1996
      • The Christmas Story (Schütz, etc), dir. G. Squire, Edinburgh, Glasgow, 1996
      • Celtic Voyages, dir K. Brown, W. Edwards, Glasgow (Celtic Connections), Scottish Islands (Mull (Salen and Tobermory), Iona, Stornoway, Benbecula), Milan, 1997
      • Cavalli: La Didone, opera, 3 performances, Glasgow (Tramway), 1997
      • Winter Nights: An Italian stramash (‘And with Corelli's soft Italian song, Mix Cowden Knowes and Winter Nights are long’), dir G. Squire, Glasgow, Edinburgh, 1998
      • A Conversation with Angels: The music and writing of Hildegard of Bingen, dir K. Brown, W. Edwards, Glasgow, 1998
      • Jesu membri nostri: Buxtehude's cantatas, dir G. Squire, Glasgow, 1998
    • The following additional public performance projects were promoted by the Dunedin Consort:
      • ‘A Voice from Heaven’: Latin motets from manuscript sources by William Byrd, performed by The Dunedin Consort (Glasgow University Chapel, 2 February 2001); programme devised by Warwick Edwards from the contents of William Byrd: Latin Motets II (see above); my newly published materials in this concert led to news interviews, conducted in GU Chapel, on BBC Scotland TV, networked Radio 3 and Radio 4
      • ‘Buchanan 500: A celebration of George Buchanan (1506–82) in his own words and with music from his time and ours’, performed by The Dunedin Consort and Mr McFall's Chamber(Killearn, 17 September 2006; Glasgow University Chapel, 25 October 2006), programme devised and programme book compiled by Warwick Edwards for the 500th anniversary of George Buchanan (b. Killearn, 1506; d. Edinburgh, 1582)
  • Festival Programmes
    • Glasgow International Early Music Festival, Warwick Edwards, Artistic Director (Glasgow, 1990, 1992, 1994, 1997)
  • Reviews
    • About thirty in British Book NewsEarly MusicTimes Literary SupplementFolk Music JournalJournal of the Royal Musical Association.
  • Awards, Appointments, etc
    • Scholar, King’s College Cambridge (1963–6)
    • John Stewart of Rannoch Scholarship in Sacred Music, Cambridge University (1965)
    • British Academy award for three months on the Continent of Europe to study early Renaissance sources of instrumental music (1977)
    • Artistic Director Scottish Early Music Consort, professional ensemble with extensive international concert, broadcasting and recording reputation (1976–98)
    • Visiting Scholar, Harvard University, USA (1982–3)
    • British Academy award for further work on early Renaissance instrumental ensemble music using the resources of the Isham microfilm collection at Harvard University (1982–3)
    • Artistic Director Glasgow International Early Music Festival (1990–7)
    • Grants, awards, etc, from public and private bodies for performance-related research activities by Scottish Early Music Consort and Glasgow International Early Music Festival; total value 1990–8: £1,500,000
    • Napier University £9,995 (1998): ‘Chamber Music of Eighteenth-Century Scotland’, ed. D. Johnson, Musica Scotica, 3 (U of Glasgow, 2000)
    • Academic Study Group (UK–Israel) £300: Conference Jerusalem (August 1998)
    • Editorial adviser, East European Meetings in Ethnomusicology, Bucharest (1999– )
    • Carnegie Trust for the Universities of Scotland £30,000 (1999, jointly with U of Aberdeen): Scottish Academic Music Publishing Project
    • British Academy £21,870 (1999): ‘Music in the Scottish Church up to 1603’
    • AHRB Leave Replacement £11,066: Study leave Jan-Mar 2000 re Music in the Scottish Church
    • British Academy £300, £250: Overseas Conference grants (Budapest 2000), Leuven (2002)
    • Co-ordinator Royal Musical Association Scottish Chapter (2000– )
    • Co-General Editor, Music of Scotland, Universities of Glasgow and Aberdeen (2000– ); publications to date: Isobel Woods Preece, Our awin Scottis use: Music in the Scottish Church up to 1603, Studies in the Music of Scotland, ed. Sally Harper (Universities of Aberdeen and Glasgow, 2000), RILM 00-07464-bm; Frans Buisman, Andrew Wright, and Roderick Cannon, eds., The MacArthur – MacGregor Manuscript of Piobaireachd (1820), The Music of Scotland, 1 (Universities of Aberdeen and Glasgow, 2001)
    • AHRB Resource Enhancement £53,386 (2002): ‘Early 18th-Century Scottish Manuscripts’
    • Local arrangements co-ordinator for the 38th annual conference of the Royal Musical Association (U of Glasgow & Royal Scottish Academy of Music and Drama, Nov/Dec 2002)
    • Organiser for the annual International Medieval-Renaissance conference (at U of Glasgow, July 2004)
    • Visiting Professor, University of Salamanca, with annual contributions to the Masters in Spanish Music Programme: 'Readings in Med-Ren musical analysis' (2010– )

Publications

List by: Type | Date

Jump to: 2013 | 2012 | 2011 | 2008 | 2007 | 2006 | 2004 | 2003 | 2001 | 2000 | 1996 | 1993 | 1987 | 1984 | 1981 | 1978 | 1977 | 1974 | 1970
Number of items: 26.

2013

Edwards, W. (2013) Songs without words by Josquin and his contemporaries. In: Gallagher, S. (ed.) Secular Renaissance Music: Forms and Functions. Series: A library of essays on renaissance music. Ashgate, pp. 575-588. ISBN 9780754629467

Edwards, W. (2013) Understanding Fifteenth-century Chansonniers: Review of: J. Alden, Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. Journal of the Royal Musical Association, 138(1), pp. 187-205. (doi:10.1080/02690403.2013.771984) [Book Review]

2012

Edwards, W. (2012) Text treatment in motets around 1500: the humanistic fallacy. In: Schmidt-Beste, T. (ed.) The Motet Around 1500: On the Relationship of Imitation and Text Treatment? Brepols: Turnhout, pp. 113-138. ISBN 9782503525662

2011

Edwards, W. (2011) Isaac's pre-Italian songs: an over-optimistic hand-list. In: Fitch, F. and Kiel, J. (eds.) Essays on Renaissance Music in Honour of David Fallows. Boydell & Brewer, pp. 198-206.

Edwards, W. (2011) Word setting in a perfect musical world: the case of Obrecht's motets. Journal of the Alamire Foundation, 3(1), pp. 52-75.

2008

Edwards, W. (2008) The Walsingham consort books [sleeve notes, La Caccia, sound recording, CD].

2007

Edwards, W. (2007) The musical sources. In: Porter, J. (ed.) Defining Strains: The Musical Life of Scots in the Seventeenth Century. Series: Studies in the history and culture of Scotland (2). Peter Lang: Oxford, pp. 47-72. ISBN 9783039109487

2006

Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. In: Schwindt, N. (ed.) Alexander Agricola : Musik zwischen Vokalität und Instrumentalismus. Series: Trossinger Jahrbuch für Renaissancemusik (6). Bärenreiter: Kassel, pp. 83-121. ISBN 9783761819937

Edwards, W. (2006) Alexander Agricola and intuitive syllable deployment. Early Music, 34(3), pp. 409-426. (doi:10.1093/em/cal066)

2004

Edwards, W. (2004) New insights into the chronology of Haydn's folksong arrangements: reading between the lines of the George Thomson correspondence. Haydn-Studien: Haydns Bearbeitungen Schottischer Volkslieder, 8(4), pp. 325-340.

Rycroft, M., Edwards, W. and McCue, K.C.(Eds.) (2004) Volkslied-Bearbeitungen Nr. 269-364: Schottische und Walisische Lieder für George Thomson. [Scholarly Editions]

2003

Edwards, W. (2003) "Laying the lay" and "patterns in play": verbal cognition in Medieval-renaissance song. In: Berger, K., Chalupka, L. and Dunning, A. (eds.) Early Music: Context and Ideas: International Conference in Musicology, Kraków 18-21 September 2003. Institute of Musicology, Jagiellonian University: Kraków, Poland, pp. 354-358. ISBN 9788370991296

2001

Rycroft, M., Edwards, W. and McCue, K.C.(Eds.) (2001) Volkslied-Bearbeitungen Nr. 151-268: Schottische Lieder für George Thomson. [Scholarly Editions]

2000

Edwards, W. (Ed.) (2000) Latin Motets 2 (From Manuscript Sources). Series: The Byrd edition. Stainer & Bell: London. ISBN 9780852493717

Edwards, W. (2000) Burgundian verse sung. Revue Belge de Philologie et d'Histoire, 78(2), pp. 339-358.

Edwards, W. (2000) Chant in Anglo-French Scotland. In: Harper, S. (ed.) Music in the Scottish Church up to 1603: Our Awin Scottis Use. Universities of Glasgow and Aberdeen: Glasgow, pp. 201-224. ISBN 9780852616949

Edwards, W. (2000) Polyphony in thirteenth-century Scotland. In: Harper, S. (ed.) Music in the Scottish Church up to 1603: Our Awin Scottis Use. Universities of Glasgow and Aberdeen: Glasgow, pp. 225-271. ISBN 9780852616949

1996

Edwards, W. (1996) Phrasing in medieval song: perspectives from traditional music. Plainsong and Medieval Music, 5(1), pp. 1-21. (doi:10.1017/S0961137100001042)

1993

Edwards, W. (1993) Parallel performance traits in medieval and modern traditional Mediterranean song. Revista de Musicología, 16(4), pp. 1979-1987.

1987

Edwards, W. (1987) Text underlay in Marguerite of Austria's chanson album Brussels 228. In: Moens-Haenen, G. (ed.) Muziek Aan Het Hof Van Margaretha Van Oostenrijk. Musica: Peer, Belgium, pp. 33-47. ISBN 9789068530315

1984

Edwards, W. (Ed.) (1984) Latin Motets 1 (From Manuscript Sources). Series: The Byrd edition. Stainer & Bell: London. ISBN 9780852493700

1981

Edwards, W. (1981) Songs without words by Josquin and his contemporaries. In: Fenlon, I. (ed.) Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts. Cambridge University Press: Cambridge, UK, pp. 79-92. ISBN 9780521233286

1978

Edwards, W. (1978) The instrumental music of Henry VIII's manuscript. Consort, 34, pp. 274-282.

1977

Edwards, W. (Ed.) (1977) Music for Mixed Consort. Series: Musica Britannica. Stainer and Bell: London. ISBN 9780852494363

1974

Edwards, W. (1974) The Walsingham consort books. Music and Letters, 55(2), pp. 209-214. (doi:10.1093/ml/LV.2.209)

1970

Edwards, W. (1970) The performance of ensemble music in Elizabethan England. Proceedings of the Royal Musical Association, 97(1), pp. 113-123. (doi:10.1093/jrma/97.1.113)

This list was generated on Thu Sep 19 03:01:34 2019 BST.
Number of items: 26.

Articles

Edwards, W. (2011) Word setting in a perfect musical world: the case of Obrecht's motets. Journal of the Alamire Foundation, 3(1), pp. 52-75.

Edwards, W. (2008) The Walsingham consort books [sleeve notes, La Caccia, sound recording, CD].

Edwards, W. (2006) Alexander Agricola and intuitive syllable deployment. Early Music, 34(3), pp. 409-426. (doi:10.1093/em/cal066)

Edwards, W. (2004) New insights into the chronology of Haydn's folksong arrangements: reading between the lines of the George Thomson correspondence. Haydn-Studien: Haydns Bearbeitungen Schottischer Volkslieder, 8(4), pp. 325-340.

Edwards, W. (2000) Burgundian verse sung. Revue Belge de Philologie et d'Histoire, 78(2), pp. 339-358.

Edwards, W. (1996) Phrasing in medieval song: perspectives from traditional music. Plainsong and Medieval Music, 5(1), pp. 1-21. (doi:10.1017/S0961137100001042)

Edwards, W. (1993) Parallel performance traits in medieval and modern traditional Mediterranean song. Revista de Musicología, 16(4), pp. 1979-1987.

Edwards, W. (1978) The instrumental music of Henry VIII's manuscript. Consort, 34, pp. 274-282.

Edwards, W. (1974) The Walsingham consort books. Music and Letters, 55(2), pp. 209-214. (doi:10.1093/ml/LV.2.209)

Edwards, W. (1970) The performance of ensemble music in Elizabethan England. Proceedings of the Royal Musical Association, 97(1), pp. 113-123. (doi:10.1093/jrma/97.1.113)

Book Sections

Edwards, W. (2013) Songs without words by Josquin and his contemporaries. In: Gallagher, S. (ed.) Secular Renaissance Music: Forms and Functions. Series: A library of essays on renaissance music. Ashgate, pp. 575-588. ISBN 9780754629467

Edwards, W. (2012) Text treatment in motets around 1500: the humanistic fallacy. In: Schmidt-Beste, T. (ed.) The Motet Around 1500: On the Relationship of Imitation and Text Treatment? Brepols: Turnhout, pp. 113-138. ISBN 9782503525662

Edwards, W. (2011) Isaac's pre-Italian songs: an over-optimistic hand-list. In: Fitch, F. and Kiel, J. (eds.) Essays on Renaissance Music in Honour of David Fallows. Boydell & Brewer, pp. 198-206.

Edwards, W. (2007) The musical sources. In: Porter, J. (ed.) Defining Strains: The Musical Life of Scots in the Seventeenth Century. Series: Studies in the history and culture of Scotland (2). Peter Lang: Oxford, pp. 47-72. ISBN 9783039109487

Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. In: Schwindt, N. (ed.) Alexander Agricola : Musik zwischen Vokalität und Instrumentalismus. Series: Trossinger Jahrbuch für Renaissancemusik (6). Bärenreiter: Kassel, pp. 83-121. ISBN 9783761819937

Edwards, W. (2003) "Laying the lay" and "patterns in play": verbal cognition in Medieval-renaissance song. In: Berger, K., Chalupka, L. and Dunning, A. (eds.) Early Music: Context and Ideas: International Conference in Musicology, Kraków 18-21 September 2003. Institute of Musicology, Jagiellonian University: Kraków, Poland, pp. 354-358. ISBN 9788370991296

Edwards, W. (2000) Chant in Anglo-French Scotland. In: Harper, S. (ed.) Music in the Scottish Church up to 1603: Our Awin Scottis Use. Universities of Glasgow and Aberdeen: Glasgow, pp. 201-224. ISBN 9780852616949

Edwards, W. (2000) Polyphony in thirteenth-century Scotland. In: Harper, S. (ed.) Music in the Scottish Church up to 1603: Our Awin Scottis Use. Universities of Glasgow and Aberdeen: Glasgow, pp. 225-271. ISBN 9780852616949

Edwards, W. (1987) Text underlay in Marguerite of Austria's chanson album Brussels 228. In: Moens-Haenen, G. (ed.) Muziek Aan Het Hof Van Margaretha Van Oostenrijk. Musica: Peer, Belgium, pp. 33-47. ISBN 9789068530315

Edwards, W. (1981) Songs without words by Josquin and his contemporaries. In: Fenlon, I. (ed.) Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts. Cambridge University Press: Cambridge, UK, pp. 79-92. ISBN 9780521233286

Book Reviews

Edwards, W. (2013) Understanding Fifteenth-century Chansonniers: Review of: J. Alden, Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. Journal of the Royal Musical Association, 138(1), pp. 187-205. (doi:10.1080/02690403.2013.771984) [Book Review]

Edited Books

Edwards, W. (Ed.) (2000) Latin Motets 2 (From Manuscript Sources). Series: The Byrd edition. Stainer & Bell: London. ISBN 9780852493717

Edwards, W. (Ed.) (1984) Latin Motets 1 (From Manuscript Sources). Series: The Byrd edition. Stainer & Bell: London. ISBN 9780852493700

Edwards, W. (Ed.) (1977) Music for Mixed Consort. Series: Musica Britannica. Stainer and Bell: London. ISBN 9780852494363

Scholarly Editions

Rycroft, M., Edwards, W. and McCue, K.C.(Eds.) (2004) Volkslied-Bearbeitungen Nr. 269-364: Schottische und Walisische Lieder für George Thomson. [Scholarly Editions]

Rycroft, M., Edwards, W. and McCue, K.C.(Eds.) (2001) Volkslied-Bearbeitungen Nr. 151-268: Schottische Lieder für George Thomson. [Scholarly Editions]

This list was generated on Thu Sep 19 03:01:34 2019 BST.