Clive McClelland - Ombra: Supernatural Music in the Eighteenth Century

The following abbreviations are used in endnotes to refer to music available in standard complete editions and other collections. Several examples are also available online.

Clive McClelland is Principal Teaching Fellow at the University of Leeds, West Yorkshire. After graduating from Birmingham University in 1981, Clive was a schoolteacher for several years, and has taught in a comprehensive school in Essex, an independent school in Harrogate and a sixth form college in Leeds. He taught part-time at Leeds University while completing his PhD thesis and is now a full-time member of staff. He specialises in harmony, counterpoint and analysis and his interest in historically-informed performance is pursued principally through his role as choral director of Leeds Baroque.

His publications include: Haydn and the Elements: Symbolic references in the oratorios, Haydn Society Journal 15 (1995), 18-27; the entry on Ombra in The New Grove Dictionary of Music and Musicians ed. Stanley Sadie and John Tyrrell (London: MacMillan, 2000) vol. xviii, 407-8; Death and the Composer: The context of Schuberts Supernatural Lieder, in ed. B. Newbould Schubert the Progressive: History, Performance Practice and Analysis (Aldershot: Ashgate, 2003); Shadows of the evening: New light on Elgars dark saying, Musical Times vol. 148 no. 1901 (Winter 2007), 43-48. He is contributing a chapter to the forthcoming The Oxford Handbook of Topic Theory, edited by Danuta Mirka, on ombra in relation to Sturm und Drang.

Abert, Hermann. Niccol Jommelli als Opernkomponist. Halle: M. Niemeyer, 1908.

. Mozarts Don Giovanni. Trans. Peter Gellhorn. London: Da Capo Press, 1976.

Adams, Stan R. The Use of Trombones to Depict Infernal and Horrendous Scenes in Three Representative Operas. Journal of the Internatinal Trombone Association, vol. 9 (1981), 1620.

Agawu, V. Kofi. Playing with Signs. Princeton: Princeton University Press, 1991.

. Topic Theory: Achievement, Critique, Prospects. In Passagen IMS Kongress Zrich 2007. Edited by Laurenz Ltteken and Hans-Joachim Hinrichsen, 3869. Kassel: Brenreiter, 2008.

Alison, Archibald. Essays on the Nature and Principles of Taste. London & Edinburgh, 1790, repr. Olms: G. Hildesheim, 1968.

Allanbrook, Wye J. Rhythmic Gesture in Mozart. Chicago: University of Chicago Press, 1983.

Anderson, Emily, ed. The Letters of Mozart and his Family. 3d ed. London: Palgrave Macmillan, 1985.

Angiolini, Gasparo. Lettere di Gasparo Angiolini a Monsieur Noverre sopra i balli pantomimi. Milan: G. B. Bianchi, 1773.

Anthony, James. French Baroque Music from Beaujoyeulx to Rameau. Portland: Amadeus Press, 1997.

Ashfield, Andrew, and Peter de Bolla, eds. The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory. Cambridge: Cambridge University Press, 1996.

Baillie, John. An Essay on the Sublime. London: for R. Dodsley, 1747.

Baines, Anthony C., Arnold Myers, and Trevor Herbert. Trombone. The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie and John Tyrrell. London: Macmillan, 2001. vol. xxv: 762773.

Baker, Felicity. The Figures of Hell in the Don Giovanni libretto. In Words about Mozart: Essays in Honour of Stanley Sadie. Edited by D. Link and J. Nagley, 77106. Woodbridge: Boydell Press, 2005.