Music and Performance Culture in Nineteenth-Century Britain

Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley is the first book to focus upon aspects of performance in the broader context of nineteenth-century British musical culture. In four Parts, 'Musical Cultures', 'Societies', 'National Music' and 'Methods', this volume assesses the role music performance plays in articulating significant trends and currents of the cultural life of the period and includes articles on performance and individual instruments; orchestral and choral ensembles; church and synagogue music; music societies; cantatas; vocal albums; the middle-class salon, conducting; church music; and piano pedagogy. An introduction explores Temperley's vast contribution to musicology, highlighting his seminal importance in creating the field of nineteenth-century British music studies, and a bibliography provides an up-to-date list of his publications, including books and monographs, book chapters, journal articles, editions, reviews, critical editions, arrangements and compositions. Fittingly devoted to a significant element in Temperley's research, this book provides scholars of all nineteenth-century musical topics the opportunity to explore the richness of Britain's musical history.

Bennett Zon is Professor of Music at Durham University and Co-Director of the International Network for Music Theology. Zon researches British culture of the long nineteenth-century, with particular interest in the relationship of music to evolutionary and theological thought. He has published The English Plainchant Revival (1999), Music and Metaphor in Nineteenth-Century British Musicology (2000) and Representing Non-Western Music in Nineteenth-Century Britain (2007). Zon is General Editor of Nineteenth-Century Music Review and the 'Music in Nineteenth-Century Britain' book series.

Contents: Introduction, Bennett Zon; Part I Musical Cultures: Hidden agendas and the creation of community: the violin press in the late 19th century, Christina Bashford; Joining up the dots: cross-channel models in the shaping of London orchestral culture, 1895-1914, Leanne Langley; Charles Garland Verrinder and music at the West London Synagogue, 1859-1904, Susan Wollenberg; Music, morality, and rational amusement at the Victorian middle-class soirée, Derek B. Scott. Part II Societies: Trial by dining club: the instrumental music of Haydn, Clementi and Mozart at London's Anacreontic Society, Simon McVeigh; Performance in private: 'the Working Men's Society' and the promotion of progressive repertoire in 19th-century Britain, Michael Allis; American songs, pastoral nationalism, and the English Temperance cantata, Charles Edward McGuire. Part III National Music: The British vocal album and the struggle for national music, Peter Horton; Musicking Caractacus, Julian Rushton. Part IV Methods: The conductor at the organ, or how choral and orchestral music was directed in Georgian England, Peter Holman; Willian Cole's view of modern psalmody, Sally Drage; Samuel Wesley and the development of organ pedals in England, Philip Olleson; Recapitulation and the musical education of Victorian children: The Child's Pianoforte Book (1882) by H. Keatley Moore, Bennett Zon; Nicholas Temperley publications; Index.

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