Dr Graham Cummings - Reader

Biography

Graham Cummings studied as both an undergraduate and postgraduate at the University of Birmingham and holds the degrees of BMus (Hons) (1968), MA (by thesis, 1970) and Ph.D (1991). He has been Sub-Organist of Birmingham Anglican Cathedral (1968-70), and an extra member of The City of Birmingham Symphony Orchestra (1967-70). Graham was appointed to the then Huddersfield Polytechnic in September 1970 where his specific teaching subject areas were in musicology and performance. He headed the subject division of Music History/Musicology from 1984-2000 and was responsible for much of its curriculum development at both undergraduate and postgraduate levels. Since the institution became a university Graham has been promoted firstly to Principal Lecturer (1997) and then to Reader in Historical Musicology (2009). Currently he is the course leader for the MMus., the taught postgraduate course in Music.

Graham is active as a performer, both as an organist and a harpsichordist, having studied with Dame Gillian Weir and Piet Kee, and has given solo recitals in many of this country’s cathedrals, concert halls and major parish churches. He was appointed University Organist in December 2000; in this role Graham promotes the university’s two outstanding organs (in St.Paul’s Hall and the Phipps Concert Hall) through a regular series of recitals given by himself, distinguished guest performers and students. He has also directed professional chamber groups (both vocal and instrumental) and a small opera company all performing Baroque music.

Research & Scholarship

Musicology: Graham Cummings’ musicology research interests are centred on the English Baroque, and on music in London, 1660 – 1760, particularly that at the Chapel Royal (MA dissertation: Henry Purcell’s Verse Anthems with Strings: Their Background and Structure), and the position, importance and character of Italian opera in London (Ph.D dissertation: Handel’s opera Poro (1731): Sources, Versions and History). The music of G.F.Handel and his English and Italian contemporaries has been at the centre of his research work, which has led to publications on Handel and Opera at an international level. He is an editor for the complete edition of G.F.Handel’s music (the Hallische Händel Ausgabe), for whom he has produced the revised edition of the opera Poro, Rè dell’ Indie. Graham has been the music text consultant for three productions and one recording of this opera, at international festivals in Halle (Germany, 1998), Göttingen, (Germany, 2006) and London (2007).

Invited public lectures: Graham’s successes at Göttingen in 2006 have led to further invitations to give public lectures linked to specific works in the 2007, 2008 and 2009 International Göttingen Handel Festivals, including the keynote lecture in English in 2007. He has also presented public lectures at the 2007 London Handel Festival, and the 2007 York Early Music Festival.

Future research plans: although the main focus will remain on London 1700 -60, Graham’s research will be as much concerned with the music of Handel’s rivals, particularly that of Porpora and Hasse, as with the music of Handel himself.

His future research projects will include: (i) Handel and the Italian librettist Pietro Metastasio; (ii) London’s two rival opera companies 1733 -37; (iii) Dr. Charles Burney, Handel’s Alcina, and perceptions of musical style (iv) Handel’s organ concertos.

Performance: as a performer Graham is particularly interested in problems of historical performance, and the interface between musical scholarship and performance. He has a specialist interest in, and knowledge of the organ music of France (17th – 20th centuries), North Germany (late 17th and early 18th centuries), and England (17th – 20th centuries).

Graham Cummings is a member of the Royal Musical Association, the International Händel Gesellschaft, and the Handel Institute.

Research Outputs

Areas for Research Supervision

Graham Cummings is happy to supervise research students (MA by Research, MPhil, PhD) in any of the following areas:

G.F.Handel

Any historical part or genre within Handel’s life and work can be considered, particularly investigations concerned with his Italian operas, English oratorios and keyboard works, and/or Handel’s compositional techniques and musical borrowings.

Music in England 1660-1760

Music in context: investigations of musical, social, religious and political contexts and purposes for the music, both sacred and secular, by such English composers as Blow, Locke, Humphrey, H. and D.Purcell, Croft, Greene, Boyce and Arne, and by such Italian visitors to London as G.B.Bononcini, Porpora, Geminiani, and Veracini. Transcription and editing can be included as part of the submission.

Opera and Oratorio in England in the 19th Century

Subjects in this area can be concerned with the repertoire, the performing organisations, performance traditions, historical performance, or individual performers. Opera and oratorio performances and organisations outside of London are of particular interest. [e.g. Opera at the Theatre Royal, Manchester: 1800 – 1873]

Performance Studies and Historical Performance

Any of the following areas of organ music could be considered:

• France (17th- 20th centuries)
• North Germany )late 17th – early 18th centuries, with particular reference to the music of Buxtehude)
• England (18th – 20th centuries)

It is expected that in addition to the dissertation, students would be expected to include a recital of music that is central to their doctoral study, and that the transcription and editing of unpublished sources might also be included, if appropriate.

Graham’s current research students are conducting projects on (i) domestic keyboard music in London during the reigns of George I and II (1714 – 60); (ii) town hall organ music in northern England (1851 – 1901) – instruments, performers, repertoire and audiences; (iii) the viol da gamba and its repertoire in Germany and Austria in the 18th century (jointly with Prof. John Bryan).

His successful supervisions include numerous MA in Music/MMus dissertations in both Musicology and Performance Studies on topics ranging widely from source and manuscript studies in 17th and 18th century Italian and English music, to performance issues in late 17th century French organ music, Beethoven’s piano concertos, Elgar’s Symphony No.2, and music for the Yorkshire regiments 1800 – 1990. They also include a PhD in Historical Musicology on ‘Opera at the Theatre Royal, Manchester 1837 -75’.