Concert Life in Eighteenth-Century Britain
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Brian Robins
British musical societies
Catch Club
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Category=NHD
Choirs Festival
Donald Burrows
eighteenth-century culture
Elizabeth Chevill
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H. Diack Johnstone
Handel's Alexander's Feast
Handel’s Alexander’s Feast
Heather Professor
historical musicology
Holywell Music Room
Il Penseroso Ed Il Moderato
Jackson's Oxford Journal
James Hesletine
Jenny Burchell
John Marsh
John Welcker
Judas Maccabaeus
Meredith Mcfarlane
Nicholas Salwey
Organ Concerto
Oxford Music Society
patronage systems
performance practice research
Peter Borsay
Peter Ward Jones
Piano Forte
Rosamond Mcguinness
Roy Johnston
Roz Southey
Salomon Concert
Sheldonian Theatre
Simon Mcveigh
Smock Alley
social networks in historical music
String Quartet
Subscription Concert
Subscription Series
Vicars Choral
William Weber
Winter Subscription Series
women in music history
Women Pianists
Young Men
Product details
- ISBN 9781138245440
- Weight: 590g
- Dimensions: 156 x 234mm
- Publication Date: 31 Jan 2017
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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In recent years there has been a considerable revival of interest in music in eighteenth-century Britain. This interest has now expanded beyond the consideration of composers and their music to include the performing institutions of the period and their relationship to the wider social scene. The collection of essays presented here offers a portrayal of concert life in Britain that contributes greatly to the wider understanding of social and cultural life in the eighteenth century. Music was not merely a pastime but was irrevocably linked with its social, political and literary contexts. The perspectives of performers, organisers, patrons, audiences, publishers, copyists and consumers are considered here in relation to the concert experience. All of the essays taken together construct an understanding of musical communities and the origins of the modern concert system. This is achieved by focusing on the development of music societies; the promotion of musical events; the mobility and advancement of musicians; systems of patronage; the social status of musicians; the repertoire performed and published; the role of women pianists and the 'topography' of concerts. In this way, the book will not only appeal to music specialists, but also to social and cultural historians.
Susan Wollenberg is Professor of Music at the University of Oxford, UK and Simon McVeigh is a Professor at Goldsmiths College, University of London, UK.
