English Musical Renaissance and the Press 1850-1914: Watchmen of Music
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A01=Meirion Hughes
Author_Meirion Hughes
bantock
British music history
Category=AVLA
Category=KNTP2
Category=NHD
Chief Music Critic
cultural journalism studies
Cum
Edwardian Press
English Music
English music reception analysis
English Musical Renaissance
English National Music
English Opera
English Orchestral Music
Enigma Variations
eq_art-fashion-photography
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eq_business-finance-law
eq_history
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eq_music
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George Grove
Gerontius
Golden Legend
granville
HMS Pinafore
Monthly Musical Record
Morning Post
Music Coverage
Musical Renaissance
Musical Times
national
national identity in music
National Music
nineteenth-century composers
Parry's Music
Parry’s Music
press influence on arts
RCM
St Cecilia's Day
St Cecilia’s Day
Stanford's Music
Stanford’s Music
Sullivan's Music
Sullivan’s Music
times
Victorian music criticism
Young Man
Product details
- ISBN 9780754605881
- Weight: 521g
- Dimensions: 156 x 234mm
- Publication Date: 18 Apr 2002
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect. This state of affairs is all the more surprising given that the quantity of such criticism in the Victorian and Edwardian press was vast, much of it displaying a richness and diversity of critical perspectives. Through the study of music criticism from several key newspapers and journals (specifically The Times, Daily Telegraph, Athenaeum and The Musical Times), this book examines the reception history of new English music in the period surveyed and assesses its cultural, social and political, importance. Music critics projected and promoted English composers to create a national music of which England could be proud. J A Fuller Maitland, critic on The Times, described music journalists as 'watchmen on the walls of music', and Meirion Hughes extends this metaphor to explore their crucial role in building and safeguarding what came to be known as the English Musical Renaissance. Part One of the book looks at the critics in the context of the publications for which they worked, while Part Two focuses on the relationship between the watchmen-critics and three composers: Arthur Sullivan, Hubert Parry and Edward Elgar. Hughes argues that the English Musical Renaissance was ultimately a success thanks largely to the work of the critics. In so doing, he provides a major re-evaluation of the impact of journalism on British music history.
Meirion Hughes, a freelance historian, co-authored (with R.A. Stradling) The English Musical Renaissance 1860-1940: Construction and Deconstruction (1993), a volume which has appeared in a revised edition as The English Musical Renaissance 1840-1940: Constructing a National Music (2001). He contributed essays on Elgar to Music and the Politics of Culture (1989), on Rossini to Conflict and Coexistence (1997), and has written and presented several broadcasts for BBC Radio 3.
