Oh come on, any of you Guildhall folks know the answer to this one. I'm guessing a library in the Barbican has the Cantilena performance materials. Regular internet searches have failed so far.

I'm not sure why Guildhall doesn't recognize on its site Adrian as an alumnus. He's a much more important figure than James Galway in my estimation.

Karl

I just searched on worldcat.org and found a bunch of schools that have the Arne scores.  Depending on the universities involved, you can probably get them sent to you through interlibrary loan, courtesy of Univ. New Mexico or any other school you are affiliated with.  If not, there may be a school near your location where you can visit in person.  I doubt these scores are available as pdf's, but IMSLP is always worth a check (they have a Kaleidoscop by Arne, but nothing else symphonic as far as I could tell in a quick search; still, you might take a few minutes to be thorough).

Generally speaking, Sibley Music Library (Eastman School of Music) has the widest selection of scores in the country, but I don't think they lend them out unless you have an affiliation.

Molto grazie. 

I've been all over IMSLP; they had the overtures in the form used by Hogwood.

And just checking - the UNM library has all 4. I hadn't worked with the library because I'm not actually in a class this term and they will not work inter-library loans for one unless enrolled currently in a class. Thanks for causing me to look anyway.

I'm also working on a book length encomium of central European intellectual diaspora which UNM benefited from (names of Frederick, Schoenfeld,  Roberts, Tatschl, Regener figure like giants here in Albuquerque). For this project I had been into worldcat looking for personal papers (where I was originally turned down) but the southwestern collections people have been wonderfully helpful.

Karl

Adrian Shepherd was principal cellist with the Scottish National Orchestra, now the RSNO - Royal Scottish National Orchestra and Cantilena was made up of musicians mostly from the SNO. Perhaps if you contacted the RSNO offices in Glasgow they could help you. I know some of the players who played in Cantilena at the time are still around with the RSNO.

Thank you Lio,

I have acquired the scores from our local University Library after all. It's published oddly enough by OUP, not Breitkopf or Baerenreiter or Kalmus or ....

I was only looking in the wrong place, a frequent problem of mine.

I would love to open a dialogue with any of the Cantilena people. I will definitely follow up on the pointer to RNSO.

Obviously my efforts to open a dialogue with the Guildhall folks were handled rather rudely by myself; hard to know how to get the right attention.

Karl 

Thomas Arne Symphonies 1 - 4 (each separate scores) 

Musica da Camera 1-4

Symphony № 1 in C Major OUP ISBN 0-19-361244-5

Symphony № 2 in F Major OUP ISBN 0-19-361257-7

Symphony № 3 in E♭ Major OUP ISBN 0-19-361270-4

Symphony № 4 in C minor OUP ISBN 0-19-361284-4

The RSNO office in Glasgow would be a good starting point to put you in touch with players. I don't remember all the players but I know that David Ingles was the double bass player with Cantilena for many years. He was also principal bass at the RSNO. He is a really lovely guy and I'm sure he would be happy to talk to you about it. Stephen Shakeshaft  played viola, Angus Anderson and Angus Ramsay played violin.  Good luck

The double bass player would definitely be one I would want to talk to. Thank you very much for this information.

Taruskin suggests that the proper position for organizing performances would be the 2nd bassoon player. :-) (I'm an oboist learning bassoon).

Karl

Shepherd? Ask the Scottish Music Centre first. They're at City Halls, Glasgow.  Or try the Performing Rights Society, but I'd check with local connections first.

Arne? UK music libraries have the Encore website, for orchestral and choral sets in libraries.  Sometimes you can arrange a direct loan with the library holding a particular set, but other times you need to go to your local public library (or the university where you study), request an inter library loan, and let them handle the transaction for you.  http://www.iaml.info/iaml-uk-irl/projects/encore.html

I do have the scores as edited by Richard Platt. I have been stripping his written out ornamentation. As a criticism, I find his ornament disrupts rather than enhances the musical texture.

But, yes I have a reasonable source. If Cantilena used this particular edition, I'm sure most musicians trained in Baroque ornament would be able to strip or better organize the ornamentation.

This question/topic and its companion piece on whether there are researchers involved in mental state - musical device connections, are superseded by the new direction for research in answering this questions of course mentioned is the reference to the recent book on Galant style.

Originally I had planned on basing the research on  17th c. North German Sacred Music (all caps, giving my passions away). I see popularity will be a necessary function in selling the concepts. I am now starting a project analyzing the Galant style (JC Bach, Arne, Boyce, Abel, Thomas Tinley, father and sons and Sam the oboist)

Thank you Ferenc Hörcher, Shian-Loong Bernard Lew, Jason Sabol, Lio Moscardini, Karen McAulay for your help. In particular I'd like to thank Lio and Karen for pointers to the remaining Cantilena alumni. Molto Grazie.

The important thing to note about the Galant is that it was entirely formulaic, fertile ground for studying the effects of musical device on mental states.

Recent book on galant style?  This isn't quite my area - please could you share citation details, as we ought to get this for our library here.  Many thanks.

From a parallel question about research in musical devices.

Robert Gjerdingen "Music in the Galant Style", Oxford U Press ISBN 978-0-19-531371-0.  © 2007

"Being an Essay on Various Schemata Characteristic of 18th century Music for Courtly Chambers, Chapels, and Theaters, Including Tasteful Passages of Music Drawn from Most Excellent Chapel Masters in the Employ of Noble and Noteworthy Personages, Said Music All Collected for the Reader's Delectation on the World Wide Web."

I have known all along that musicians of the enlightenment would have developed a very serious rational understanding of the effect of musical devices. In "Music in the Galant Style", Robert Gjerdingen writes of Christian Bach: "One hesitates to point out indications of calculation and conscious construction in a movement (Opus 12: andante) that succeeds so well in conveying the “Noble simplicity” and naturalness that was an avowed aesthetic goal in the later 1770’s. Yet naturalness is an artful impression and not necessarily indicative of the mode of construction.”

In particular the Galant period focused very much of the conveyance of elaborate emotion via very complex methods but which are designed to look simple and natural. One always wants ones performances to appear effortless in spite of our preparatory work

The question buried in the request for performance materials is the question of sources: who has the Urtext? This is important because I am preparing new performance editions.

The link to "encore" is helpful but I am going to follow my own advice (learn from people, not technology) and contact Cantilena members directly. I am starting a group in Albuquerque that would benefit from their experience.