Music In The British Provinces 1690 1914

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

A history of the English music festival is long overdue. Dr Pippa Drummond argues that these festivals represented the most significant cultural events in provincial England during the nineteenth century and emphasizes their particular importance in the promotion and commissioning of new music. Drawing on material from surviving accounts, committee records, programmes, contemporary pamphlets and reviews, Drummond shows how the festivals responded to and reflected the changing social and economic conditions of their day. Coverage includes a chronological overview documenting the history of individual festivals followed by a detailed exploration of such topics as performers and performance practice, logistics and finance, programmes and commissioning, together with information concerning the composition and provenance of festival choirs and orchestras. Also discussed are the effects of improved transport and new technologies on the festivals, sacred and secular conflicts, gender issues, the role of philanthropy, the nature of patronage and the changing social status of festival audiences. The book will also be of interest to social, economic and local historians.

William Sweetland was a Bath organ builder who flourished from c.1847 to 1902 during which time he built about 300 organs, mostly for churches and chapels in Somerset, Gloucestershire and Wiltshire, but also for locations scattered south of a line from the Wirral to the Wash. Gordon Curtis places this work of a provincial organ builder in the wider context of English musical life in the latter half of the nineteenth century. An introductory chapter reviews the provincial musical scene and sets the organ in the context of religious worship, public concerts and domestic music-making. The book relates the biographical details of Sweetland's family and business history using material obtained from public and family records. Curtis surveys Sweetland's organ- building work in general and some of his most important organs in detail, with patents and other inventions explored. The musical repertoire of the provinces, particularly with regard to organ recitals, is discussed, as well as noting Sweetland's acquaintances, other organ builders, architects and artists. Part II of the book consists of a Gazetteer of all known organs by Sweetland organized by counties. Each entry contains a short history of the instrument and its present condition. Since there is no definitive published list of his work, and as all the office records were lost in a fire many years ago, this will be the nearest approach to a comprehensive list for this builder.

New research throws light on the history of the viol after Purcell, including its revival in the late eighteenth century through Charles Frederick Abel.

Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfasts thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfasts musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfasts prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.

Reveals how the musical benefit allowed musicians, composers, and audiences to engage in new professional, financial, and artistic contexts.

In nineteenth-century British society music and musicians were organized as they had never been before. This organization was manifested, in part, by the introduction of music into powerful institutions, both out of belief in music's inherently beneficial properties, and also to promote music occupations and professions in society at large. This book provides a representative and varied sample of the interactions between music and organizations in various locations in the nineteenth-century British Empire, exploring not only how and why music was institutionalized, but also how and why institutions became 'musicalized'. Individual essays explore amateur societies that promoted music-making; institutions that played host to music-making groups, both amateur and professional; music in diverse educational institutions; and the relationships between music and what might be referred to as the 'institutions of state'. Through all of the essays runs the theme of the various ways in which institutions of varying formality and rigidity interacted with music and musicians, and the mutual benefit and exploitation that resulted from that interaction.