Jeremy Dibble is Professor of Music at the University of Durham and Vice-President of the Stanford Society. His specialist interests in the Victorian, Edwardian and Georgian eras are reflected in the major studies of C. Hubert H. Parry: His Life and Music (1992; rev. 1998) and Charles Villiers Stanford: Man and Musician (2002), both published by OUP, and in his recent volume of Parry’s violin sonatas for the Musica Britannica Trust (2003). He has written on a wide range of topics including historiography, opera and church music in Britain including a monograph John Stainer: A Life in Music (2007, Boydell & Brewer). His interests in Irish art music are reflected by his monograph Michele Esposito (2010, Field Day Press) and Hamilton Harty: Musical Polymath (Boydell & Brewer 2013). He is presently working on an analytical study of the music of Frederick Delius and a book of essays on British musical criticism 1850–1950. Musical editor for the Canterbury Dictionary of Hymnology, and a contributor to the Cambridge History of Christianity and Oxford History of Anglicanism, he is an Honorary Fellow of the Royal School of Church Music and the Guild of Church Musicians.

Therese Ellsworth earned a PhD from the University of Cincinnati Conservatory of Music for which she wrote a dissertation ‘The Piano Concerto in London Concert Life between 1801 and 1850’. Her research interests focus on nineteenth-century London concert life, in particular women pianists. She is the co-editor with Susan Wollenberg of The Piano in Nineteenth-Century British Culture (2007). Other publications include book chapters in The Loder Family: Musicians in Nineteenth-Century Bath, ed. Nicholas Temperley (2016); Jan Dussek (1760–1812): A Bohemian Composer ‘en voyage’ through Europe, ed. R. Illiano and R. H. Stewart-MacDonald (2012); and Instrumental Music and the Industrial Revolution, ed. R. Illiano and L. Sala (2010). She has presented papers at conferences in North America and Europe. She is currently an independent scholar living in Washington, DC.

Peter Horton is Deputy Librarian (Reference & Research) at the Royal College of Music, London, where he has worked since 1984. He has a particular interest in nineteenth- and early twentieth-century English music, especially the life and music of Samuel Sebastian Wesley and William Sterndale Bennett. Among his publications are a three-volume edition of Wesley’s complete anthems for Musica Britannica, a monograph Samuel Sebastian Wesley: A Life (OUP, 2004), ‘William Sterndale Bennett, Composer and Pianist’ (in The Piano in Nineteenth-Century British Culture (Ashgate, 2007)) and a new edition of Vaughan Williams’ Symphony no. 5 (OUP, 2009). He is currently working on an edition of Bennett’s piano concertos for Musica Britannica and book chapters on Musical Criticism in England, 1850–1860, and an investigation of the publishing and operatic ventures of William Hawes.

Bettina S. Mühlenbeck studied Piano Performance, Philosophy and Musicology at the University of Düsseldorf, the University of Wyoming, Folkwang Conservatory of the Arts and the University of Bern. She holds a B.Mus. degree in Piano as well as Master of Arts and Doctor of Philosophy in Musicology. After serving as Assistant Professor in the Music Department at the University of Minnesota-Duluth, she joined the Faculty of the Honors College at Grand Valley State University in Michigan where she currently serves as the Professor of the Arts.

Nicholas Temperley holds a PhD from Cambridge University and joined the musicology faculty at the University of Illinois in 1967, where he is now professor emeritus. He was editor-in-chief of the Journal of the American Musicological Society (1978–80) and first president of the North American British Musical Studies Association, and is an honorary life fellow of the Hymn Society of the US and Canada. He is the author of The Music of the English Parish Church (1979), editor of the London Pianoforte School (20 vols), and director of the Hymn Tune Index (hymntune.library.uiuc.edu). He has published editions of Haydn’s Creation and Berlioz’s Symphonie fantastique, and jointly edited two volumes of Musica Britannica. His most recent study is Musicians of Bath and Beyond: Edward Loder (1809–1865) and his Family. A critical edition of The Whole Book of Psalms by Thomas Sternhold, John Hopkins and others, prepared jointly with Beth Quitslund, is forthcoming.