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Focuses upon aspects of performance in the broader context of nineteenth-century British musical culture. In four sections, '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.

The English Bach Awakening concerns the introduction into England of J.S. Bach''s music and information about him. Hitherto this subject has been called ''the English Bach revival'', but that is a misnomer. ''Revival'' implies prior life, yet no reference to Bach or to his music is known to have been made in England during his lifetime (1685-1750). The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. A focus of the book is the history of the manuscripts and the printed editions of Bach''s ''48'' - The Well-tempered Clavier - in England at this time, and its culmination in the ''analysed'' edition that Samuel Wesley and Charles Frederick Horn published in 1810-1813 and later revised. Wesley''s multifaceted role in the Bach Awakening is detailed, as are the several efforts that were made to translate Forkel''s biography of Bach into English. A chapter is devoted to A.F.C. Kollmann''s endeavour to prove the regularity of Bach''s Chromatic Fantasy, and the book concludes with a discussion of portraits of Bach in England before 1830.

How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music''s place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake''s verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot''s use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.

This is the first book to focus upon aspects of performance in the broader context of nineteenth-century British musical culture. An introduction explores Nicholas 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.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians including Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their important work has opened up opportunities for focussed, critical studies of the ways in which music and theology can be seen to interact in specific repertoires, genres, and institutions as well as the work of particular composers, religious leaders and scholars. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain. The book does not simply present a history of sacred music of the period, but examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different denominations, the production of several landmark hymnals and greater legal recognition for religions other than Christianity. The book therefore provides a valuable guide to the music of this complex historical period.

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. The key figure in this process was Michael Costa. This book provides insight into the politics and changing aesthetics of the Victorian musical world.

While the musical culture of the British Isles in the 'long nineteenth century' has been reclaimed from obscurity by musicologists in the last thirty years, appraisal of operatic culture in the latter part of this period has remained elusive. Paul Rodmell examines the nature of operatic culture in the British Isles during this period.

Until the nineteenth century, music occupied a marginal place in British universities. It was not until a benefaction initiated the creation of a professorship of music at the University of Edinburgh, in the early nineteenth century, that the idea of music as a university discipline commanded serious consideration.

Presents musical connections between Britain and the continent of Europe, and Britain and its Empire. This book uses approaches and methods that recognize the integral role of music within a wider culture, including religious, political and social life. The topics range from Italian opera in Dublin to British musicians in Canada, and more.

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.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain.

The idea that the middle class arose during the 1880s is now widely accepted amongst social historians but the notion that such a social group dominated music appreciation is probably untrue. This book explores the European middle class and its role in musical life.

As well as recording the details of the major works of Michael William Balfe, the author describes the atmosphere of London operatic life and the chaotic conditions under which Balfe's operas were written and produced.

How was music depicted in and mediated through Romantic and Victorian poetry? That is the question which this volume of essays explores in order to achieve a better understanding of the place of music and its significance in 19th-century British culture.

Explores issues of orientalism, otherness, gender and sexuality that arise in artistic British representations of non-European musicians during the 19th-century, by utilizing theories of orientalism, and the subsidiary (particularly aesthetic and literary) theories both on which these theories were based and on which they have been influential.

As the first comprehensive study of MacCunn's life, this book illustrates how social and cultural situations, as well as personal relationships, influenced his career. Having risen to fame in the late 1880s with a string of Scottish works.

Born into the famous family of piano makers, Lucy Broadwood (1858-1929) became one of the chief collectors and scholars of the first English folk music revival in the late nineteenth and early twentieth centuries. This biography sheds light on her early years and chronicles her later busy social, artistic and musical life.

Selected from papers given at the third biennial conference, "Music in Nineteenth-Century Britain", this book, in common with its two predecessors, reflects the topic's interdisciplinary character. The essays are divided into thematic groups, including gender, church music and national identity.

Devoted to the life and music of Charles Villiers Stanford, this book pieces together the story of the life of this prominent pre-First World War musician.

The aim of this volume is to analyze the contribution of music journalists to the revival of English music in the second half of the 19th century - the phenomenon that came to be called the "English musical renaissance". In so doing it re-evaluates their impact on British musical history.

Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context. Attention is given to some of the performance issues raised.

Vincent Novello (1781-1861) is remembered as the father of the music-publishing firm. This work provides a view of his life and work, and the nature of his importance both in his own time and to posterity. It includes thematic studies that focus on Novello as practical musician and educator, as editor, and as composer.

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.

Charles Halle was one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time. This work presents a fresh perspective on Halle's life and achievement, constructed mainly from primary sources, which serves to dispel many of the inaccuracies and omissions.

A history of the English music festival is long overdue. This title 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.

Founded as a personal endeavour by Vincent Novello in 1811, the English music publisher Novello is the subject of this study that explores the practice and policy of Victorian music publishing from 1829 to 1866.

Considers the reception of the composer, pianist, organist and conductor Felix Mendelssohn in nineteenth-century England, and his influence on English musical culture.