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Author: Dez Wright
Publisher: Independently Published
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
The eighteenth century may have been a period when the only truly world figures in British music - Handel and J. C. Bach - were Germans, but what is fascinating about the century is how the music industry became increasingly sophisticated. Career opportunities for musicians now existed outside the traditions of court and church. Patronage was still vital in other parts of Europe, and most composers were employed as court or church Kapellmeisters or, if they were lucky, had private support. The opportunities to make a living composing to commission and performing in concert simply didn't exist in Vienna or Paris. And it was in its infrastructure and opportunities that Britain led the world during the eighteenth century, even if its legacy on a purely musical level was a little thin. This chronology is the second part of the story of the music of these islands arranged strictly on a month-by-month, year-by-year basis. Each year is prefaced by a brief overview of historical events in the British Isles, followed by important contemporary events in music elsewhere, and finally a list of major works of art and literature that appeared here. There then follows a chronological account of musical events. Volume one covers the period up to the end of the seventeenth century, and a further five are planned which will take the story up to the twenty-first century.
Author: Dez Wright
Publisher: Independently Published
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
The eighteenth century may have been a period when the only truly world figures in British music - Handel and J. C. Bach - were Germans, but what is fascinating about the century is how the music industry became increasingly sophisticated. Career opportunities for musicians now existed outside the traditions of court and church. Patronage was still vital in other parts of Europe, and most composers were employed as court or church Kapellmeisters or, if they were lucky, had private support. The opportunities to make a living composing to commission and performing in concert simply didn't exist in Vienna or Paris. And it was in its infrastructure and opportunities that Britain led the world during the eighteenth century, even if its legacy on a purely musical level was a little thin. This chronology is the second part of the story of the music of these islands arranged strictly on a month-by-month, year-by-year basis. Each year is prefaced by a brief overview of historical events in the British Isles, followed by important contemporary events in music elsewhere, and finally a list of major works of art and literature that appeared here. There then follows a chronological account of musical events. Volume one covers the period up to the end of the seventeenth century, and a further five are planned which will take the story up to the twenty-first century.
Author: Dez Wright
Publisher:
ISBN: 9789798835247
Category :
Languages : en
Pages : 0
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Book Description
Author: Laurence Bristow-Smith
Publisher:
ISBN: 9782970065470
Category : Music
Languages : en
Pages : 522
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Book Description
Volume Two begins with Queen Victoria and the Empire. It charts the story of British music through its Renaissance period at the end of the 19th century, through the rise of the music halls and folksong, the arrival of radio, cinema, and recorded music, through the great upheavals of two World Wars, right up to the Beatles, hifi and symphonic rock.
Author: Dez Wright
Publisher: Independently Published
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
This voulme in the series A Musical Chronology of the British Isles covers a period of less than forty years, but during this period Britain and its music industry changed completely. In 1880 there was a healthy concert life in the capital and elsewhere, but few composers or musicians who could claim to be world figures. By 1918 the operettas of Gilbert and Sullivan were performed throughout the English speaking world, and composers such as Elgar, Parry and, to a lesser degree, Stanford, Vaughan Williams, Coleridge-Taylor, Holst, Bax, Smyth and others had international reputations. Choral music had always cut across class boundaries, particularly in Wales and the north of England, but now the Proms and the Saturday concerts at Crystal Palace reached out to all. Music hall peaked during this period as the new cinema industry began to offer an increasingly sophisticated alternative. The biggest change in music in the home, however, was the introduction of the phonograph and the gramophone. Before the twentieth century music at home meant playing or singing it yourself, or, for the wealthy, hiring others to play. Now there was the possibility of music on demand. Radio, just around the corner in 1918, changed habits even further. This fourth book of seven takes up the story in the year when The Pirates of Penzance opened in London, and Benjamin Disraeli's Conservatives lost the election to William Gladstone's Liberals. It ends just seven weeks after the armistice that ended the First World War in a year when women over thirty had the vote for the first time, and four months before the Original Dixieland Jazz Band brought the jazz age to London. As with previous volumes, brief passages on events in the islands, events in the world of music away from these shores, and significant achievements in other art forms are followed by a chronological journey through the main musical events of each year, including important recordings. At the end of this are listed key publications of books, scores and songs.
Author: Dez Wright
Publisher: Independently Published
ISBN:
Category :
Languages : en
Pages : 0
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Book Description
This third volume of seven in the series covers the evolution of British music and the music industry over the first eighty years of the nineteenth century. At the end of the previous century musical life in London consisted of concerts (often funded by subscribers who paid a certain amount per season for a seat), vernacular and Italian opera, and, in summer, the pleasure gardens. Other major cities in the islands, such as Dublin and Edinburgh, offered a similar range of entertainments. Popular ballads and airs were sold as broadsheets, and could increasingly be heard in urban streets blaring out from barrel organs, a relatively new invention. Employment prospects for a musician were largely confined to the theatre, the church and, possibly, as a musician/tutor in a private household. Home music making was largely a pursuit of the wealthy. Fast-forward eighty years and the musical landscape of the British Isles had changed completely. In 1880 concerts were still largely the preserve of the moneyed elites, but the emerging middle classes and the new generations of factory workers now had the music halls and the new kind of musical theatre provided by the likes of Gilbert and Sullivan. Performers could become household names, and musicians and jobbing composers could make a decent living. Music education had been restricted to private lessons and on-the-job-training in 1800, but in 1880 there were internationally known schools such as the Royal Academy of Music and the Royal College of Music in London. Music in the home, too, had changed radically. The new Victorian middle classes in their suburban villas inevitably owned a piano, and a piano required sheet music to play. Undemanding instrumental music, and sentimental and moralistic ballads were the order of the day. Many of the great European composers spent time in Britain in the eighteenth century, and this is something that continued during the nineteenth. Mendelssohn, Weber, Berlioz, Liszt and others all spent very profitable periods in the country. There had been no one at home of a comparable stature, if one discounts foreign-born, but adopted sons like Handel and Johann Christian Bach, since the days of Purcell. William Sterndale Bennett was the most important figure furing the first half of the century, not so much for his compositions, but for the high standards he brought to music teaching, and for the invigorating influence he had on concert life. His pupils included Sullivan and Hubert Parry, and these two, along with Charles Villiers Stanford and Alexander Mackenzie, were responsible to a large degree for the renaissance of musical life that began in the last quarter of the century.
Author: Laurence Bristow-Smith
Publisher:
ISBN: 9782970065463
Category :
Languages : en
Pages :
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Book Description
Volume One begins with a set of pipes from 2000 BC discovered in an Irish bog and follows the story of British music through invasions and religious and political upheavals up to the end of the eighteenth century. It shows the dominance of the Church and the monarchy giving way to promoters and managers whose motives were much more commercial.
Author: Emil Naumann
Publisher: Cambridge University Press
ISBN: 1108061648
Category : History
Languages : en
Pages : 667
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Book Description
Scholar and composer Emil Naumann (1827-88) studied with Mendelssohn. This two-volume English translation of his best-known work was made by Ferdinand Praeger (1815-91) and published in 1888. Chapters on music in England have been added by its editor, the eminent Victorian musician Sir Frederick Gore Ouseley (1825-89).
Author: Norman Davies
Publisher: Pan Macmillan
ISBN: 0330475703
Category : History
Languages : en
Pages : 1156
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Book Description
The bestselling and controversial new history of the 'British Isles', including Ireland from the author of Europe: A History. Emphasizing our long-standing European connections and positing a possible break-up of the United Kingdom, this is agenda-setting work is destined to become a classic. 'If ever a history book were a tract for the times, it is The Isles: A History ... a masterwork.' Roy Porter, The Times 'Davies is among the few living professional historians who write English with vitality, sparkle, economy and humour. The pages fly by, not only because the pace is well judged but also because the surprises keep coming.' Felipe Fernandez-Armesto, Sunday Times 'A book which really will change the way we think about our past . marvellously rich and stimulating' Noel Malcolm, Evening Standard 'A historiographical milestone.' Niall Ferguson, Sunday Times 'The full shocking force of this book can only be appreciated by reading it.' Andrew Marr, Observer 'It is too soon to tell if [Norman Davies] will become the Macaulay or Trevelyan of our day: that depends on the reading public. He has certainly made a good try. This is narrative history on the grand scale - compulsively readable, intellectually challenging and emotionally exhilirating.' David Marquand, Literary Review
Author: Harold Reeves (Firm)
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 620
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Author:
Publisher:
ISBN:
Category : Bibliography
Languages : en
Pages : 982
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