Professor Graham Sadler
Professor Sadler is known internationally as an authority on French music of the seventeenth and eighteenth centuries. After studying at the Universities of Nottingham and London and the Royal College of Music, he joined the Music Department at the University of Hull, where he remained as lecturer, reader and eventually professor until 2007. He was appointed as a research professor at the Royal 探花直播 Conservatoire in 2012, having been a visiting tutor since 2007.
Qualifications
- BMus
- PhD
Memberships
- Royal Musical Association
- Society for Seventeenth-Century Music
- Association pour un Centre de Recherche sur les Arts du Spectacle des XVIIe et XVIIIe si猫cles.
Teaching
- MMus Critical Edition
- MMus Historical Performance Practice
Research
French Baroque music with special emphasis on opera and sacred music. Aspects of historical performance, notation and critical editing.
Postgraduate Supervision
MMus and PhD supervision
Publications
Selected Publications
Books
(with Deborah Mawer, Barbara L. Kelly and Rachel Moore), Accenting the Classics: Europe鈥檚 Music Through Durand鈥檚 脡dition Classique, 1915鈥�1925 (Woodbridge: The Boydell Press), at press.
(ed. with Shirley Thompson and Jonathan Williams), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), xxx + 310 pp.
(ed. with Sylvie Bouissou and Solveig Serre) Rameau, entre art et science (Paris: 脡cole des Chartes, 2016), 554 pp.
The Rameau Compendium (Woodbridge: The Boydell Press, 2014), xi + 269 pp.; expanded 2nd edition, 2017, 272 pp.
(with Caroline Wood), French Baroque Opera: A Reader (Aldershot: Ashgate, 2000), ix + 160 pp.; enlarged 2nd edition (Abingdon: Routledge, 2017), xiv + 214 pp.
(with James R. Anthony 别迟听补濒.), The New Grove French Baroque Masters (London: Macmillan, 1986), 318听pp.
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Critical editions
Jean-Philippe Rameau, Zoroastre, version 1756, vol. IV.26 of Jean-Philippe Rameau: Opera Omnia (Tauxigny: Soci茅t茅 Jean-Philippe Rameau/Kassel: B盲renreiter, 2022), lxxxiv + 348 pp.
Fran莽ois Collin de Blamont, Circ茅, cantate 脿 voix seule avec symphonie (Versailles: 脡ditions du centre de musique baroque de Versailles, 2020), 40 pp.
Jean-Philippe Rameau, Prayers for the Convalescence of Louis XV (Frome: Septenary Editions, 2020), vi + 10 pp.
(with Julien Dubruque) Louis-Nicolas Cl茅rambault, La Muse de l鈥檕p茅ra, ou Les Caract猫res lyriques, cantate 脿 voix seule avec symphonie (Versailles: 脡ditions du Centre de musique baroque de Versailles, 2017), 56 pp.
Jean-Philippe Rameau, 窜补茂蝉, vol. IV/15 of Jean-Philippe Rameau: Opera Omnia (Bonneuil-Matours: Soci茅t茅 Jean-Philippe Rameau/Kassel: B盲rereiter, 2011), full score (lxiv + 400 pp.), vocal score (356听pp.)
Jean-Philippe Rameau, Zoroastre, version 1749, vol. IV.19 of Jean-Philippe Rameau: Opera Omnia (Paris: Billaudot, 1999), full score (xcv + 438 pp.), vocal score (302 pp.)
Masterpieces of the French Baroque: Nine Motets from the Century of Louis XIV (London: Faber Music, 2000), 32 pp.
Jean-Philippe Rameau, 鈥淟es Indes galantes鈥�, the composer鈥檚 transcriptions for harpsichord (London: Oxford University Press, 1980), 34 pp.
Jean-Marie Leclair 鈥榣鈥檃卯n茅鈥�, Premi猫re recr茅ation, op. 6 (London: Oxford University Press, 1979), 35听pp.
Jean-Marie Leclair 鈥榣鈥檃卯n茅鈥�, Two Trio Sonatas, op. 13 nos 1 & 2 (London: Oxford University Press, 1976), 26 pp.
Andr茅 Campra, Operatic Airs, The Baroque Operatic Arias, vol. 2 (London: Oxford University Press, 1973), x + 94 pp.
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Articles and chapters in journals, symposia, dictionaries etc.听听
鈥楾丑别 Role of the Ma卯tre de musique: Evidence from the Acad茅mie royale de musique鈥檚 Performing Material鈥�, in Barbara Nestola, Beno卯t Dratwicki, Julien Dubruque and Thomas Leconte (eds.), The Fashioning of French Opera (1672-1791). Identity, Production, Networks (Turnhout: Brepols, at press).
鈥楲ouis Dupr茅 and the Isthmian Games: Reconstructing the Sequence of Actions during an Olympic-Style Contest in Rameau鈥檚 狈补茂蝉 (1749)鈥�, in Jean-No毛l Laurenti et al. (eds), La Danse fran莽aise et son rayonnement (1600-1800). Nouvelles sources, nouvelles perspectives (Paris: Classiques Garnier, at press)
鈥榃hen Scarlatti met Rameau? Reflections on a Probable Encounter in the 1720s鈥�, in Bruce Gustafson (ed.), The Worlds of Harpsichord and Organ: Liber Amicorum David Fuller (Hillsdale, NY: Pendragon Press, at press).
鈥楲e Ballet figur茅 chez Cahusac: hidden implications of a stage direction in 窜补茂蝉 (1748) by Rameau鈥�, in Alexandre de Craim at Thomas Soury (eds.), Les M茅tamorphoses du ballet. Histoire et identit茅 d'un genre lyrique (XVIIe-XVIIIe si猫cles) (Paris: 脡ditions Aedam Musicae, 2022), pp. 309-326.
鈥楢 Cluster of Allusions to Vivaldi鈥檚 Le quattro stagioni in Rameau鈥檚 鈥湸〔圆钩Π┐遣遭�� (1757)鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds),The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2021), pp. 129-140.
Four articles for the Dictionnaire de l鈥橭p茅ra de Paris sous l鈥橝ncien R茅gime, ed. Sylvie Bouissou, Pascal Den茅cheau and France Marchal-Ninosque (Paris: Classiques Garnier, 2019-2020).
鈥楿n groupe d鈥檈mprunts aux Quattro stagioni de Vivaldi dans 础苍补肠谤茅辞苍 (1757) de Rameau et Bernard鈥�, in Rapha毛lle Legrand and R茅my-Michel Trotier (eds), En un acte听: Les Actes de ballet de Jean-Philippe Rameau (Paris: 脡ditions Aedam Musicae, 2019), pp. 129-140.
鈥楻ameau and the Tax Farmers: Authenticating the听Paroles qui ont pr茅c茅d茅 le Te Deum听(1744)鈥�, in Musiques en libert茅: entre la cour et les provinces au temps des Bourbons, ed. Bernard Dompnier and Catherine Massip (Paris: 脡cole des Chartes, 2018), pp. 261-274.
鈥楢gostino Steffani and the French Style鈥�, in Colin Timms, Claudia Kaufold and Nicole Strohmann(eds), Agostino Steffani: Europ盲ischer Komponist und hannoverscher Diplomat der Leibniz-Zeit (G枚ttingen: V&R unipress, 2017), pp. 67-87.鈥楽aint-Sa毛ns, d鈥橧ndy and the Rameau 艗uvres compl猫tes: New Light on the Zoroastre Editorial Project (1914)鈥�, in Deborah Mawer (ed.), Historical Interplay in French Music and Culture, (Abingdon: Routledge, 2017), pp. 64-80.
鈥楲a Maga et les bergers: quelques emprunts g茅n茅riques 脿 l鈥檕p茅ra v茅nitien dans les motets dramatiques de Marc-Antoine Charpentier鈥�, in Catherine Cessac (ed.), Les Histoires sacr茅es de Marc-Antoine Charpentier: une histoire de genre (Turnhout: Brepols, 2017), pp. 125-140.
鈥楻ameau, Cahusac and the Rituals of French Freemasonry: Curious Parallels between Zoroastre and a Contemporary Masonic Exposure鈥�, in Sylvie Bouissou, Graham Sadler and Solveig Serre (eds), Rameau: entre art et science (Paris: 脡cole des Chartes, 2016), pp. 117-132.
鈥楾丑别 Inner String Parts in the Operas of Lully: Authorship, Function and Evolution鈥�, in Florence G茅treau and Jean Duron (eds), Les Cordes de l鈥檕rchestre fran莽ais sous le r猫gne de Louis XIV: instruments, r茅pertoires et singularit茅s (Paris: 脡ditions Vrin, 2015), pp. 219鈥�240.
鈥楲a Biblioth猫que musicale du Dr Charles Burney鈥�, in Catherine Massip et al. (eds), Collectionner la musique: 茅rudits collectionneurs (Turnhout: Brepols, 2015), pp. 99-115.
鈥樷�淓ven good Homer nods鈥�: Marc-Antoine Charpentier鈥檚 Remarques sur les Messes 脿 16 parties d鈥橧talie and his copy of Beretta鈥檚 Missa Mirabiles elationes maris鈥�, in Bulletin Charpentier, 5 (2015), pp. 3-28.
鈥楾丑别 Italian Roots of Marc-Antoine Charpentier鈥檚 Chromatic Harmony鈥�, in Anne-Madeleine Goulet and Gesa zur Nieden(eds), Europ盲ische Musiker in Venedig, Rom und Neapel 1650-1750 / Les musiciens europ茅ens 脿 Venise, Rome et Naples 1650-1750 / Musicisti europei a Venezia, Roma e Napoli 1650-1750 (Kassel: B盲renreiter, 2015), pp. 546鈥�570 [with Shirley Thompson].
鈥楾丑别 Dramatic Motets of Marc-Antoine Charpentier: a 鈥渇oyer d鈥檌talianisme鈥� within the liturgical context鈥�, in C茅cile Davy-Rigaux (ed.), La Musique d鈥櫭塯lise et ses cadres de cr茅ation dans la France d鈥橝ncien R茅gime (Florence: Olschki, 2014), pp. 159鈥�174.
鈥楢dapting an Italian Style and Genre: Charpentier and the 蹿补濒蝉辞产辞谤诲辞苍别鈥�, in Caroline Giron-Panel and Anne-Madeleine Goulet (eds), Musique 脿 Rome au XVIIe si猫cle (Rome: 脡cole fran莽aise de Rome, 2012), pp. 405-422.
鈥業dentifier les cantates 芦听orchestrales听禄 d鈥橝ndr茅 Campra: l鈥檌mplication des interpr猫tes et des 茅diteurs鈥�, in Catherine Cessac (ed.), Itin茅raires d鈥橝ndr茅 Campra (1660-1744): d鈥橝ix 脿 Versailles, de l鈥櫭塯lise 脿 l鈥橭p茅ra (Wavre: Mardaga, 2012), pp. 371-389.
鈥楥harpentier鈥檚 Void Notation: The Italian Background and its Implications鈥�, in Shirley Thompson (ed.), New Perspectives on Marc-Antoine Charpenter (Aldershot: Ashgate, 2010), pp. 31-61.
鈥楻ameau, Jean-Philippe鈥�, in Annette Landgraf and David Vickers (eds), The Cambridge Handel Encyclopedia (Cambridge: Cambridge University Press, 2009), p. 519.
鈥楾丑别 鈥淥rchestral鈥� French Cantata (1706鈥�1730): Performance, Edition and Classification of a Neglected Repertory鈥�, in Michael Talbot (ed.), Aspects of the Secular Cantata in Late Baroque Italy (Aldershot: Ashgate, 2009), pp. 201-230.
鈥楩rom Themes to Variations: Rameau鈥檚 Debt to Handel鈥�, in Michelle Biget and Rainer Schmusch (eds), 鈥�L鈥橢sprit fran莽ais鈥� und die Musik Europas: Entstehung, Einflu脽 und Grenzen einer aesthetischen Doktrin (Hildesheim: Olms, 2007), pp. 592-607.
鈥業diosyncrasies in Charpentier鈥檚 Continuo Figuring: their Significance for Editors and Performers鈥�, in Catherine Cessac (ed.), Les Manuscrits autographes de Marc-Antoine Charpentier (Wavre: Mardaga, 2006), pp. 137-156.
鈥楾丑别 French Baroque Orchestra: Lully, Charpentier, Couperin鈥�, in Jonathan Wainwright and Peter Holman(eds), From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century (Aldershot: Ashgate, 2005), pp. 271-273.
鈥楢 Philosophy Lesson with Fran莽ois Couperin? Notes on a Newly-discovered Canon鈥�, Early Music, xxxii/4 (2004) pp. 541-547.
Numerous articles for The New Grove Dictionary of Music and Musicians (2nd edition, London: Macmillan, 2001).
鈥楾丑别 Basse continue in Lully鈥檚 Operas: Evidence Old and New鈥�, in J茅r么me de La Gorce and Herbert Schneider (eds), Quellenstudien zu Jean-Baptiste Lully/L鈥櫯抲vre de Lully: 脡tudes des sources 鈥� Hommage 脿 Lionel Sawkins (Hildesheim: Olms, 1999) pp. 382-397.
鈥楳arc-Antoine Charpentier and the 鈥渂asse continue鈥濃��, Basler Jahrbuch f眉r historische Musikpraxis, xviii (1994), pp. 9-30 [with Shirley Thompson].
24 articles for The Viking Opera Guide, ed. Amanda Holden (London: Viking, 1993).
鈥榁incent d鈥橧ndy and the Rameau 艗uvres compl猫tes: A Case of Forgery?鈥�, Early Music, xxi/3 (1993), pp. 415-421.
31 articles for The New Grove Dictionary of Opera, ed. Stanley Sadie (London: Macmillan, 1992).
鈥楢 Re-examination of Rameau鈥檚 Self-borrowings鈥�, in John Hajdu-Heyer (ed.), Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony (Cambridge: Cambridge University Press, 1989), pp. 259-290.
鈥楶atrons and Pasquinades: Rameau in the 1730s鈥�, Journal of the Royal Musical Association, cxiii (1988), pp. 314-337.
鈥楾丑别 Paris Op茅ra Dancers in Rameau鈥檚 Day: a Little-known Inventory of 1738鈥�, in J茅r么me de La Gorce (ed.), Colloque international, Dijon 1983 (Paris/Geneva: Slatkine, 1987), pp. 519-531.
Introduction to Jean-Philippe Rameau: Les Paladins, com茅die lyrique (Hillsdale, NY: Pendragon Press, 1986), xxxvi + 300 p. [with R. Peter Wolf].
鈥楻补尘别补耻鈥檚 Singers and Players at the Paris Op茅ra: a Little-known Inventory of 1738鈥�, Early Music, xi/3 (1983), pp. 453-467.
鈥楻ameau, Pellegrin and the Paris Op茅ra: the Revisions of Hippolyte et Aricie During its First Season鈥�, The Musical Times, cxxiv (1983), pp. 533-537.
鈥楻补尘别补耻鈥檚 Castor et Pollux鈥�, Early Music, ix/3 (1981), pp. 419-420.
鈥楻ameau and the Orchestra鈥�, Proceedings of the Royal Musical Association, cviii (1981-2), pp. 47-68.
Five articles in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980).
鈥�狈补茂蝉, Rameau鈥檚 鈥淥p茅ra pour la paix鈥濃��, The Musical Times, cxxi/7 (1980) pp. 431-433.
鈥楴otes on Leclair鈥檚 Theatre Music鈥�, Music & Letters, lxi (1980), pp. 147-157 [with Neal Zaslaw].
鈥楾丑别 Role of the Keyboard Continuo in French Opera, 1673-1776鈥�, Early Music, viii/2 (1980), pp. 148-157; translated by Irma Perrotti as 鈥業l ruolo del continuo alla tastiera nell鈥檕pera francese 1673-1776鈥�, in Scritti sull鈥檕pera e sul teatro in musica (1977-1981), Quaderni dell鈥橧RTEM (Rome: Istituto Ricerca Teatro Musicale 1986), pp. 39-58.
鈥楻补尘别补耻鈥檚 Zoroastre: the 1756 Reworking鈥�, The Musical Times, cxx/4 (1979), pp. 301-303.
鈥楻补尘别补耻鈥檚 Harpsichord Transcriptions from Les Indes galantes鈥�, Early Music, vii/1 (1979), pp. 18-24.
鈥楢 Letter from Claude-Fran莽ois Rameau to J.J.M. Decroix鈥�, Music & Letters, lix/2 (1978), pp. 139-147.
鈥楻补尘别补耻鈥檚 Last Opera: Abaris, ou Les Bor茅ades鈥�, The Musical Times, cxvi/4 (1975), pp. 327-329.
鈥楻ameau, Piron and the Parisian Fair Theatres鈥�, Soundings, iv (1974), pp. 13-29.
Published translations
Francesca Pagani, 鈥楢 little-known contribution to the Lulliste-Ramiste dispute: Jean Galli de Bibiena鈥檚 M茅moires et aventures de monsieur de *** (1735)鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 11-24.
Rapha毛lle Legrand, 鈥楯ean-Philippe Rameau鈥檚 Art d鈥檃imer: music and eroticism in the Age of Enlightenment鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 63-79 [with Natalie Lithwick].
Thomas Soury, 鈥楻e-assessing attributions to Louis de Cahusac of the librettos of Rameau鈥檚 Io, 窜茅辫丑颈谤别 and N茅l茅e et Mirthis鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 80-93.
Marie Demeilliez, 鈥楴ew light on the genesis of the ill-fated opera Linus by La Bru猫re and Rameau鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 113-126.
Thomas Leconte, 鈥楢n anonymous Messe des morts on themes by Rameau and Mondonville鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams/ (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 159-179.
Laura Naudeix, 鈥楾丑别 impact of human and material contingencies on artistic creation: the case of Rameau鈥檚 Les Indes galantes鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 201-214 [with Jenifer Ball].
R茅my-Michel Trotier, 鈥楽tage sets and music in Rameau鈥檚 operas鈥�, in Graham Sadler, Shirley Thompson and Jonathan Williams (eds), The Operas of Jean-Philippe Rameau: Genesis, Staging, Reception, Ashgate Interdisciplinary Essays on Opera (Abingdon: Routledge, 2022), pp. 228-242 [with Jenifer Ball].
Julien Dubruque, 鈥楾丑别 鈥淐ouperin Chord鈥濃��, Early Music, xlviii (2020), pp. 307-317.
Denis Herlin, 鈥楢 bibliographical imbroglio: Books 1 and 2 of Couperin鈥檚 Pi猫ces de clavecin鈥�, Early Music, xlviii (2020), pp. 319-333 [with Peter Bloom].
Marie Demeilliez, 鈥楥ontexts for Couperin鈥檚 L鈥檃rt de toucher le clavecin鈥�, Early Music, xlviii (2020), pp. 335-346.
Florence G茅treau, 鈥楽atirical portraits and visual lampoons of Rameau and his works鈥�, Early Music, xliv (2016), pp. 523-537.
Erik Kocevar, 鈥楴ew light on Jean-Philippe Rameau鈥檚 biography revealed by revisions to his fathe鈥檚 will鈥�, Early Music, xliv (2016), pp. 539-551.
Denis Herlin, 鈥樷�淪ouvent dans le plus doux sort鈥�: Notes on a Newly-discovered Autograph Letter and Drinking Song by Fran莽ois Couperin鈥�, Early Music, xli (2013), pp. 393-401.
[with Shirley Thompson], Catherine Cessac, 鈥樷�淯ne source peut en cacher une autre鈥�: Added Preludes and Instrumental Cues in the 惭茅濒补苍驳别蝉鈥�, in Shirley Thompson (ed.), New Perspectives on Marc-Antoine Charpenter (Aldershot: Ashgate, 2010), pp. 185-205.
[with Shirley Thompson], Th茅odora Psychoyou, 鈥楾丑别 Historical Implications of a Distinctive Scoring: Charpentier鈥檚 Six-Voice Motets for Mademoiselle de Guise鈥�, in Shirley Thompson (ed.), New Perspectives on Marc-Antoine Charpenter (Aldershot: Ashgate, 2010), pp. 207-227.
[with Shirley Thompson], Benjamin Pintiaux, 鈥�惭茅诲茅别 within the Repertory of the trag茅die en musique: Intertextual Links and the 鈥淧osterity鈥� of Charpentier鈥檚 Opera鈥�, inShirley Thompson (ed.), New Perspectives on Marc-Antoine Charpenter (Aldershot: Ashgate, 2010), pp. 251-268.
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Editions for opera productions, concerts, recordings, broadcasts
Jean-F茅ry Rebel, Les 脡l茅mens. Staged by English Bach Festival (conductor, Andrew Parrott), Banqueting House, Whitehall, and Queen Elizabeth Hall, London, 1979 and Holland Festival. Amsterdam, 1979; tele-recording by ORTF: Op茅ra Royal, Ch芒teau de Versailles, 1979; concert performance by St James鈥檚 Baroque Players/Ivor Bolton, BBC Henry Wood Proms, broadcast Radio 3, 1997.
Jean-Philippe Rameau, Zoroastre (1756 version). Semi-staged by English Bach Festival, Queen Elizabeth Hall, London, 1979 (conductor, Andrew Parrott).
Rameau, Hippolyte et Aricie. Staged by English Bach Festival at the Royal Opera House, Covent Garden, and Athens Festival, 1980 (conductor, Sir Charles Mackerras); recorded by Les Musiciens du Louvre/Marc Minkowski (Archiv), 1994.
Rameau, Pigmalion, acte de ballet. Staged by English Bach Festival, Op茅ra Royal, Versailles, 1980 (conductor, Nicholas McGegan); recorded 1980 (Erato).
Rameau, 狈补茂蝉, Op茅ra pour la Paix. Staged by English Bach Festival at the Th茅芒tre Municipal, Dijon, Old Vic Theatre, London, and Op茅ra Royal, Versailles, 1980 (conductor, Nicholas McGegan); recorded 1980 (Erato).
Jean-Marie Leclair, 鈥榣鈥檃卯n茅鈥�, Ouverture en trio, op. 13 no. 5 and trio sonata in D, op. 14. Performed by London Baroque, broadcast BBC Radio 3, 1981.
Rameau, Castor et Pollux (1754 version). Staged by English Bach Festival at the Royal Opera House, Covent Garden, 1981 (conductor, Charles Farncombe), and at the Salle Gamier, Monte Carlo (conductor, Roger Norrington), 1981; recorded 1982 (Erato).
Rameau, 笔濒补迟茅别 (1749 version). Staged by English Bach Festival, Op茅ra Royal, Versailles, 1983 and Sadlers Wells Theatre, London, 1983 (conductor: Jean-Claude Malgoire); broadcast BBC Radio 3, 1983 (conductor, Nicholas Kraemer) in collaboration with the European Broadcasting Union; Paris Op茅ra production recorded by Les Musiciens du Louvre/Marc Minkowski, 1993 (Archiv); DVD of Paris Op茅ra production recorded 2003.
Rameau, Les Bor茅ades. Staged at the Royal Academy of Music, 1986 (conductor, Roger Norrington).
Rameau, Overture 窜补茂蝉. Concert performance by St James鈥檚 Baroque Players/Ivor Bolton, BBC Henry Wood Proms, broadcast BBC Radio 3, 1997; recording by Les Talents Lyriques/Christophe Rousset, L鈥橭iseau-Lyre, 1998.
Marc-Antoine Charpentier, Precatio pro filio Regis (H166) and Quemadmodum (H174). Prepared for concert tour 鈥楶raying for reign: private music of a king-in-waiting鈥�, given by 鈥楨mma Kirkby and Friends鈥�, Southampton, Bristol, Tonbridge, York, Hull (2004-05).
Rameau, concert suites from Dardanus and Les Paladins. Prepared for San Francisco Philharmonia Baroque Orchestra (conductor, Nicholas McGegan), broadcast BBC Henry Wood Proms (2005).
Journal guest editorships
Early Music, 鈥楩ran莽ois Couperin鈥�, xlvii/3 (2020), vi + 134 pp.
Early Music, 鈥楯ean-Philippe Rameau and his world鈥�, xliv/4 (2016), iv + 179 pp.
Early Music,鈥楩rench Baroque Music鈥�, xli/3 (2013), iv + 178 pp.
Early Music, 鈥楩rench Baroque II鈥�, xxi/3 (1993), 175 pp.
Early Music, 鈥楩rench Baroque I鈥�, xxi/3 (1993), 159 pp.