Music in the United Kingdom

8/10/2019 Music in the United Kingdom

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Early music

Early music of the British Isles, from the earliest recorded times until the beginnings ofthe Baroque in the 17th century, was a diverse and rich culture, including sacred and secularmusic and ranging from the popular to the elite. Each of the major nationsof England, Ireland, Scotland and Wales retained unique forms of music and instrumentation, butBritish music was highly influenced by continental developments, while British composers madean important contribution to many of the major movements in early music in Europe, includingthe polyphony of the Ars Nova and laid some of the foundations of later national andinternational classical music. Musicians from the British Isles also developed some distinctiveforms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonicvotive antiphons and the carol in the medieval era and English madrigals,

lute ayres and masques in the Renaissance era, which would lead to the development of Englishlanguage opera at the height of the Baroque in the 18th century.

o Medieval music to 1450Surviving sources indicate that there was a rich and varied musical life in medieval

Britain. Historians usually distinguish between ecclesiastical music, designed for use in church,or in religious ceremonies, and secular music for use from royal and baronial courts, celebrationsof some religious events, to public and private entertainments of the people. Our understandingof this music is limited by a lack of written sources for much of what was an oral culture.

Church musicIn the early Middle Ages, ecclesiastical music was dominated

by monophonic plainchant. The separate development of British Christianity from the directinfluence of Rome until the 8th century, with its flourishing monastic culture, led to thedevelopment of a distinct form of liturgical Celtic chant. Although no notations of this musicsurvive, later sources suggest distinctive melodic patterns. This was superseded, as elsewhere inEurope, from the 11th century by Gregorian chant. The version of this chant linked to the liturgyas used in the Diocese of Salisbury, the Sarum Use, first recorded from the 13th century, becamedominant in England. This Sarum Chant became the model for English composers until it wasreplaced at the Reformation in the mid-16th century, influencing settingsfor masses, hymns and Magnificats. Scottish music was highly influenced by continentaldevelopments, with figures like thirteenth-century musical theorist Simon Tailler studying inParis, before returned to Scotland where he introduced several reforms of church music. Scottishcollections of music like the thirteenth-century 'Wolfenbttel 677', which is associated withSt Andrews, contain mostly French compositions, but with some distinctive local styles. The firstnotations of Welsh music that survive are from the 14th century, including matins, laudsand vespers for St David's Day.
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The Ar s Nova

In the 14th century, the English Franciscan monk Simon Tunsted, usually credited withthe authorship of Quatuor Principalia Musicae : a treatise on musical composition, is believed to

have been one of the theorists who influenced the 'Ars Nova' , a movement which developed inFrance and then Italy, replacing the restrictive styles of Gregorian plainchant withcomplex polyphony. The tradition was well established in England by the 15th century and waswidely used in religious, and what became, purely educational establishments, includingEton College, and the colleges that became the Universities of Oxford and Cambridge. The motet 'Sub Arturo plebs' attributed to Johannes Alanus and dated to the mid or late 14thcentury, includes a list of Latinised names of musicians from the English court that shows theflourishing of court music, the importance of royal patronage in this era and the growinginfluence of the ars nova. Included in the list is J. de Alto Bosco, who has been identified withthe composer and theorist John Hanboys, author of Summa super musicam continuam etdiscretam , a work that discusses the origins of musical notation and mensuration from the 13thcentury and proposed several new methods for recording music.

The Contenance Angloi se

From the mid-15th century we begin to have relatively large numbers of works that havesurvived from English composers in documents like the early 15th century Old Hall Manuscript. Probably the first, and one of the best represented is Leonel Power (1380 1445), who was

probably the choir master of Christ Church, Canterbury and enjoyed noble patronage

from Thomas of Lancaster, 1st Duke of Clarence and John of Lancaster, 1st Duke ofBedford (1389 1435). John Dunstaple (or Dunstable) was the most celebrated composer of the'Contenance Angloise' (English manner), a distinctive style of polyphony that used full, richharmonies based on the third and sixth, which was highly influential in thefashionable Burgundian court of Philip the Good. Nearly all his manuscript music in Englandwas lost during the Dissolution of the Monasteries (1536-1540), but some of his works have beenreconstructed from copies found in continental Europe, particularly in Italy. The existence ofthese copies is testament to his widespread fame within Europe. He may have been the firstcomposer to provide liturgical music with an instrumental accompaniment. Royal interest inmusic is suggested by the works attributed to Roy Henry in the Old Hall Manuscript, suspectedto be Henry IV or Henry V. This tradition was continued by figures such as Walter Frye(1420 1475), whose masses were recorded and highly influential in France and the

Netherlands. Similarly, John Hothby (1410 1487), an English Carmelite monk, who travelledwidely and, although leaving little composed music, wrote several theoretical treatises,including La Calliopea legale , and is credited with introducing innovations to the medieval pitchsystem. The Scottish king James I was in captivity in England from 1406 to 1423, where he
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earned a reputation as a poet and composer and may have been responsible for taking Englishand continental styles and musicians back to the Scottish court on his release.

Secular music

Ireland, Scotland and Wales shared a tradition of bards, who acted as musicians, but alsoas poets, story tellers, historians, genealogists and lawyers, relying on an oral tradition thatstretched back generations. Often accompanying themselves on the harp, they can also be seen inrecords of the Scottish courts throughout the medieval period. We also know from the work ofGerald of Wales that at least from the 12th century, group singing was a major part of the sociallife of ordinary people in Wales. From the 11th century particularly important in English secularmusic were minstrels, sometimes attached to a wealthy household, noble or royal court, but

probably more often moving from place to place and occasion to occasion in pursuit of payment. Many appear to have composed their own works, and can be seen as the first secularcomposers and some crossed international boundaries, transferring songs and styles ofmusic. Because literacy, and musical notation in particular were done by the clergy in this

period, the survival of secular music is much more limited than for church music. Neverthelesssome were noted, occasionally by clergymen who had an interest in secular music. England in

particular produced three distinctive secular musical forms in this period, the rota, the polyphonic votive antiphon and the carol.

Rotas

A rota is the a form of round (usually sung by two or three voices) , known to have beenused from the 13th century in England. The earliest surviving piece of composed music in theBritish Isles, and perhaps the oldest recorded folk song in Europe, is a rota: a setting of 'Sumer IsIcumen In' ('Summer is a-coming in'), from the mid-13th century, possibly written by W. deWycombe, precentor of the priory of Leominster in Herefordshire, and set for six parts. Althoughfew are recorded, the use of rotas seems to have been widespread in England and it has beensuggested that the English talent for polyphony may have its origins in this form of music.

Votive Antiphons

Polyphonic votive antiphons emerged in England in the 14th century as a setting of a texthonouring the Virgin Mary, but separate from the mass and office, often after compline. Towardsthe end of the 15th century they began to be written by English composers as expanded settingsfor as many as nine parts with increasing complexity and vocal range. The largest collection ofsuch antiphons is in the late 15th century Eton choirbook.
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Carols

Carols developed in the 14th century as a simple song, with a verse and refrain structure,usually connected with a religious festival, particularly Christmas. They were derived from a

form of circle dance accompanied by singers, which was popular from the mid-12thcentury. From the 14th century they were used as processional songs, particularly at Advent,Easter and Christmas, and to accompany religious mystery plays. Because the tradition of carolscontinued into the modern era we know more of their structure and variety than most othersecular forms of medieval music.

o The Renaissance 1450-1660The impact of humanism on music can be seen in England in the late 15th century

under Edward IV (1461 1483) and Henry VII (1485 1509). Although the influence of Englishmusic on the continent declined from the mid-15th century as the Burgundian School became thedominant force in the West, English music continued to flourish with the first composers beingawarded doctorates at Oxford and Cambridge, including Thomas Santriste, who was provostof King's College Cambridge, and Henry Abyngdon, who was Master of Music at WorcesterCathedral and from 1465 83 Master of the King's Music.

Edward IV chartered and patronised the first guild of musicians in London in 1472, a pattern copied in other major towns cities as musicians formed guilds or waites, creating localmonopolies with greater organisation, but arguably ending the role of the itinerantminstrel. There were increasing numbers of foreign musicians, particularly those from Franceand the Netherlands, at the court, becoming a majority of those known to have been employed bythe death of Henry VII. His mother, Lady Margaret Beaufort, was the major sponsor of musicduring his reign, commissioning several settings for new liturgical feasts and ordinary of themass. The result was a very elaborate style which balanced the many parts of the setting and

prefigured Renaissance developments elsewhere. Similar developments can be seen in Scotland.In the late 15th century a series of Scottish musicians trained in the Netherlands before returninghome, including John Broune, Thomas Inglis and John Fety, the last of whom became master ofthe song school in Aberdeen and then Edinburgh, introducing the new five-fingered organ

playing technique.

In 1501 James IV refounded the Chapel Royal within Stirling Castle, with a new andenlarged choir, it became the focus of Scottish liturgical music. Burgundian and Englishinfluences came north with Henry VII's daughter Margaret Tudor, who married James IV in1503. In Wales, as elsewhere, the local nobility were increasingly Anglicised and the bardictradition started to decline.In this period it seems that most Welsh composers tended to cross the

border and seek employment in the English royal and noble households, including John Lloyd(1475 1523) who was employed in the household of the Edward Stafford, 3rd Duke of
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Buckingham and became a Gentleman of the Chapel Royal from 1509, and Robert Jones(1520 1535) who also became a gentleman of the Chapel Royal.

Henry VIII and James V

Henry VIII and James V, were both enthusiastic patrons of music. Henry (1491 1547) played various instruments, of which he had a large collection, including, at his death, seventyeight recorders. He is sometimes credited with compositions, including the part-song 'Pastimewith Good Company' . In the early part of his reign and his marriage to Catherine ofAragon secular court music focused around an emphasis on courtly love, probably acquired fromthe Burgundian court, result in compositions like William Cornysh' s (1465 1515) 'Yow and Iand Amyas'. Among the most eminent musicians of Henry VIII's reign was JohnTaverner (1490 1545), organist of the College founded at Oxford by Thomas Wolsey from1526 1530. His principal works include masses, magnificats and motets, of which the mostfamous is 'Dum Transisset Sabbatum'. Thomas Tallis (1505 1585) took polyphonic compositionto new heights with works like his 'Spem in alium' , a motet for forty independent voices. InScotland James V (1512 1542) had a similar interest in music. A talented lute player heintroduced French chansons and consorts of viols to his court and was patron to composers suchas David Peebles (1510 1579?).

The Reformation

The Reformation naturally had a profound impact on the religious music of Britain. The

loss of many abbeys, collegiate churches and religious orders intensified a process by whichhumanism had made careers writing church music decline in importance compared withemployment in the royal and noble households. Many composers also responded to the liturgicalchanges brought about by the Reformation. From the 1540s sacred music was being set toEnglish language texts rather than Latin. The legacy of Tallis includes the harmonised versionsof the plainsong responses of the English church service that are still in use by the Church ofEngland. The Lutheranism that influenced the early Scottish Reformation attempted toaccommodate Catholic musical traditions into worship, drawing on Latin hymns and vernacularsongs.

The most important product of this tradition in Scotland was The Gude and Godlie Ballatis , which were spiritual satires on popular ballads composed by the brothers James, John and Robert Wedderburn. Never adopted by the church, they neverthelessremained popular and were reprinted from the 1540s to the 1620s. Later the Calvinism that cameto dominate the Scottish Reformation was much more hostile to Catholic musical tradition and

popular music, placing an emphasis on what was biblical, which meant the Psalms. The Scottish psalter of 1564 was commissioned by the Assembly of the Church. It drew on the work of
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French musician Clment Marot, Calvin's contributions to the Strasbourg psalter of 1529 andEnglish writers, particularly the 1561 edition of the psalter produced byWilliam Whittingham for the English congregation in Geneva. The intention was to produceindividual tunes for each psalm, but of 150 psalms, 105 had proper tunes and in the seventeenthcentury, common tunes, which could be used for psalms with the same metre, became morecommon. The need for simplicity for whole congregations that would now all sing these psalms,unlike the trained choirs who had sung the many parts of polyphonic hymns, necessitatedsimplicity and most church compositions were confined to homophonic settings. There is someevidence that polyphony survived and it was incorporated into editions of the psalter from 1625,

but usually with the congregation singing the melody and trained singers the contra-tenor, trebleand bass parts.

Music publication

During this period, music printing (technically more complex than the printing of writtentext) was adopted from continental practice. Around 1520 John Rastell initiated the single-impression method for printing music, in which the staff lines, words, and notes were all part of asingle piece of type, making it much easier to produce, although not necessarily clearer.Elizabeth I granted the monopoly of music publishing to Tallis and his pupil William Byrd whichensured that their works were widely distributed and have survived in various editions, butarguably limited the potential for music publishing in Britain.

Mary, Queen of Scots and Elizabeth I

James V's daughter, Mary, Queen of Scots, also played the lute, virginals and (unlike herfather) was a fine singer. She was brought up in the French court and brought many influencesfrom there when she returned to rule Scotland from 1561, employing lutenists and viol players inher household. Mary's position as a Catholic gave a new lease of life to the choir of the ScottishChapel Royal in her reign, but the destruction of Scottish church organs meant thatinstrumentation to accompany the mass had to employ bands of musicians with trumpets, drums,fifes, bagpipes and tabors.

In England her cousin Elizabeth I was also trained in music, playing and encouraging

keyboard music and acting as a major patron for English composers. Byrd emerged as theleading composer of the Elizabethan court, writing sacred and secular

polyphony, viol, keyboard and consort music, reflecting the growth in the range of instrumentsand forms of music available in Tudor and Stuart Britain. The outstanding Scottish composer ofthe era was Robert Carver( 1485 1570) whose works included the nineteen-part motet 'O BoneJesu'.
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The English madrigal school

The English Madrigal School was the brief but intense flowering of themusical madrigal in England, mostly from 1588 to 1627. Based on the Italian musical form and

patronised by Elizabeth I after the highly popular Musica transalpina by Nicholas Yonge in1588. English madrigals were a cappella, predominantly light in style, and generally began aseither copies or direct translations of Italian models, mostly set for three to six verses. The mostinfluential composers of madrigals in England whose work has survived were ThomasMorley, Thomas Weelkes and John Wilbye. One of the more notable compilations of Englishmadrigals was The Triumphs of Oriana , a collection of madrigals compiled by Thomas Morleyand devoted to Elizabeth I. Madrigals continued to be composed in England through the 1620s,

but stopped in the early 1630s as they began to seem obsolete as new forms of music began toemerge from the continent.

Lute ayres

Also emerging from the Elizabethan court were ayres, solo songs, occasionally with more(usually three) parts, accompanied on alute. Their popularity began with the publication ofJohn Dowland' s (1563 1626) First Booke of Songs or Ayres (1597). Dowland had travelledextensively in Europe and probably based his ayres on the Italian monody and French air decour . His most famous ayres include 'Come again' , 'Flow my tears' , 'I saw my Lady weepe' and'In darkness let me dwell' . The genre was further developed by Thomas Campion (1567 1620)whose Books of Airs (1601) (co-written with Philip Rosseter) containing over one hundred lutesongs and which was reprinted four times in the 1610s. Although this printing boom died out inthe 1620s ayres continued to be written and performed and were often incorporated intocourt masques.

Consort music

Consorts of instruments developed in the Tudor period in England as either 'whole'consorts, that is, all instruments of the same family (for example, a set of viols played together)and a 'mixed' or 'broken' consort, consisting of instruments from various families (forexample viols and lute) . Major forms of music composed for consorts included: fantasias, In

Nomines, variations, dances, and fantasia-suites. Many of the major composers of the 16th and17th centuries produced work for consorts, including William Byrd, GiovanniCoperario, Orlando Gibbons, John Jenkins and Henry Purcell.
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Masques

Campion was also a composer of court masques, an elaborate performance involvingmusic and dancing, singing and acting, within a complex stage design, in which the architecturalframing and costumes might be designed by a renowned architect, such as Inigo Jones, to presenta deferential allegory flattering to a noble or royal patron. These developed out of the medievaltradition of guising in the early Tudor period and became increasingly complex underElizabeth I, James VI and I and Charles I. Professional actors and musicians were hired for thespeaking and singing parts. Shakespeare included masque like sections in many of his playsand Ben Jonson is known to have written them. Often, the masquers who did not speak or singwere courtiers: James I's Queen Consort, Anne of Denmark, frequently danced with her ladies inmasques between 1603 and 1611, and Charles I performed in the masques at his court. Themasque largely ended with the closure of the theatres and the exile of the court under theCommonwealth.

Music in the theatre

Performances of Elizabethan and Jacobean plays frequently included the use of music,with performances on organs, lutes, viols and pipes for up to an hour before the actual

performance, and texts indicates that they were used during the plays. Plays, perhaps particularlythe heavier histories and tragedies, were frequently broken up with a short musical play, perhapsderived from the Italian intermezzo, with music, jokes and dancing, known as a 'jigg' and fromwhich the jig dance derives its name. After the closure of the London theatres in 1642 thesetendencies developed into sung plays that are recognisable as English Opera's, the first usually

being thought of as William Davenant' s (1606 1668) The Siege of Rhodes (1656), originallygiven in a private performance. The development of native English opera had to wait for theRestoration of the monarchy in 1660 and the patronage of Charles II.

James VI and I and Charles I 1567 1642

James VI, king of Scotland from 1567, was a major patron of the arts in general. He madestatutory provision to reform and promote the teaching of music. He rebuilt the Chapel Royal atStirling in 1594 and the choir was used for state occasions like the baptism of his son Henry. Hefollowed the tradition of employing lutenists for his private entertainment, as did other membersof his family. When he went south to take the throne of England in 1603 as James I, he removedone of the major sources of patronage in Scotland. The Scottish Chapel Royal was now usedonly for occasional state visits, beginning to fall into disrepair, and from now on the court inWestminster would be the only major source of royal musical patronage.
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When Charles I returned in 1633 to be crowned he brought many musicians from theEnglish Chapel Royal for the service. Both James and his son Charles I, king from 1625,continued the Elizabethan patronage of church music, where the focus remained on settings ofAnglican services and anthems, employing the long lived Bryd and then following in hisfootsteps composers such as Orlando Gibbons (1583 1625) and Thomas Tomkins (1572 1656). The emphasis on the liturgical content of services under Charles I, associated withArchbishop William Laud, meant a need for fuller musical accompaniment. In 1626 the musicalestablishment of the royal household was sufficient to necessitate the creation of a new office of'Master of the King's Music' and probably the most important composer of the reign was WilliamLawes (1602 1645), who produced fantasia suites, consort music for harp, viols and organ andmusic for individual instruments, including lutes. This establishment was disrupted by theoutbreak of civil war in England in 1642, but a smaller musical establishment was kept at theKing's alternative capital at Oxford for the duration of the conflict.

Civil War and Commonwealth 1642 1660The period between the ascendancy of Parliament in London in 1642, to

the Restoration of the monarchy in 1660, radically changed the pattern of British music. The lossof the court removed the major source of patronage, the theatres were closed in London in 1642and certain forms of music, particularly those associated with traditional events or the liturgicalcalendar (like morris dancing and carols), and certain forms of church music, includingcollegiate choirs and organs, were discouraged or abolished where parliament was able toenforce its authority. There was, however, no Puritan ban on secular music and Cromwell hadthe organ from Magdalen College, Oxford set up at Hampton Court Palace and employed anorganist and other musicians.

Musical entertainment was provided at official receptions, and at the wedding ofCromwell's daughter. Since the opportunities for large scale composition and public performancewere limited, music under the Protectorate became a largely private matter and flourished indomestic settings, particularly in the larger private houses. The consort of viols enjoyed aresurgence in popularity and leading composers of new pieces were John Jenkins and MatthewLocke. Christopher Simpson' s work, The Division Violist , first published in 1659, was for manyyears the leading manual on playing the viol and on the art of extemporising "divisions toa ground" , in Britain and continental Europe and is still used as a reference by earlymusic revivalists.
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Baroque music

Baroque music of the British Isles bridged the gap between the early music ofthe Medieval and Renaissance periods and the development of fully fledged and formalisedorchestral classical music in the second half of the eighteenth century. It was characterised bymore elaborate musical ornamentation, changes in musical notation, new instrumental playingtechniques and the rise of new genres such as opera. Although the term Baroque isconventionally used for European music from about 1600, its full effects were not felt in Britainuntil after 1660, delayed by native trends and developments in music, religious and culturaldifferences from many European countries and the disruption to court music caused by the Warsof the Three Kingdoms and Interregnum.

Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the seventeenth century progressed, to be revived again under the House of Hanover. The Baroque era in British musiccan be seen as one of an interaction of national and international trends, sometimes absorbingcontinental fashions and practices and sometimes attempting, as in the creation of ballad opera, to produce an indigenous tradition. However, arguably the most significant British composer ofthe era, George Frideric Handel, was a naturalised German, who helped integrate British andcontinental music and define the future of the classical music of the United Kingdom that would

be officially formed in 1801.

o Charles IIWith the Restoration of the monarchy in 1660, Charles II made the court once more the

centre of musical patronage in Britain, th etheatres were reopened and, after the introduction of anew Book of Common Prayer in 1662, choral music began to be developed again. The king'stime on the continent, his (hidden) preference for Catholicism and explicit desire forentertainment led to the embracing of the Baroque and continental forms of music. The court

became something of a crossroads of European musicians and styles on a much grander scalethan previously achieved. It was probably in these circumstances that Welsh musicians at the

court encountered the Italian triple harp, which they adopted and which by the end of the centuryhad supplanted simpler harps to became a national Welsh symbol. As well as encouraging manyFrench musicians to join his court, the king dispatched the young Pelham Humfrey (1647 1674)to study in Paris, probably in 1665. When he returned he became the Master of the Children ofthe Chapel Royal and composer to the Court. Although he died aged only 27 he was highlyinfluential on other English composers like William Turner (1651 1740), John Blow (1649 1708) and Henry Purcell (1659 1695). Early in his career Purcell wrote secular music, including
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for the theatre. Later, as organist of Westminster Abbey and the Chapel Royal, he devotedhimself to sacred music. In both fields he emerged as the most influential British composer of theera.

o English operaIt was directly due to Charles II's patronage that English language opera, which had

briefly surfaced in the 1650s, was re-established in the 1670s. In 1673, ThomasShadwell' s Psyche , patterned on the 1671 'comdie-ballet' of the same name produced

by Molire and Jean-Baptiste Lully, marked the revival of the genre. WilliamDavenant produced The Tempest in the same year, which was the first Shakespeare play to be setto music (composed by Locke and Johnson). About 1683, Blow composed Venus and Adonis , often thought of as the first true English-language opera. Purcell produced Dido and

Aeneas (1689), often described as the finest in the genre, in which the action is furthered by the

use of Italian-style recitative, but much of Purcell's best work was not involved in the composingof typical opera, but instead he usually worked within the constraints of the semi-opera format,where isolated scenes and masques are contained within the structure of a spoken play, such asShakespeare's Midsummer Night's Dream in his The Fairy-Queen (1692) or Beaumont andFletcher dramas in The Prophetess (1690) and Bonduca (1696). The main characters of the playtended not to be involved in the musical scenes, which meant that Purcell was rarely able todevelop his characters through song. Despite these hindrances, his aim (and that of hiscollaborator John Dryden) was to establish serious opera as a dramatic form in England, butthese hopes ended with Purcell's early death at the age of 37 in 1695 and English opera graduallyfell out of favour and Italian opera began to dominate.

o Court music after the Glorious RevolutionAfter the death of Charles II in 1685, royal patronage of music became less significant. In

the short and troubled reign of his successor James II (1685 88), whose more overt Catholicism,together with his preference for Italian music and musicians, limited patronage of Anglicanchurch music and the Chapel Royal, English composers were pushed towards secular music.Under William III and Mary II (1688 1702) there was an emphasis on combating rebellion andforeign policy, rather than on culture. There was also a reaction against the Catholic and Frenchculture of the court of Louis XIV, resulting in limitations on some elements of the Baroque, mostobviously reflected in the royal couple's orders to remove orchestration from anthems from 1689and from the Chapel Royal in general from 1691, meaning that royal patronage for orchestratedworks now only extended to special occasions. The last of the Stuarts, Queen Anne (1702 1714),had a reputation for being uninterested in culture, but had a considerable musical education andsome talent. As a princess she was a patron of Purcell, Turner and Blow and from the early yearsof her reign she sponsored compositions for Royal processions and occasions including hercoronation and the Acts of Union in 1707, which created the Kingdom of Great Britain. Her
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successor George Elector of Hanover, king of Great Britain and Ireland from 1714 to 1727 asGeorge I, was perhaps the most musically minded monarch of the era, bringing German andItalian music and musicians with him when he acceded to the throne, among them GeorgeFrideric Handel.

o George Frideric HandelThe leading figure in British music of the early 18th century was a naturalized Briton,

George Frideric Handel (1685 1759). Although he was born in Germany, he first visitedEngland in 1710, later moving there and becoming a naturalised citizen, playing a defining rolein the music of the British Isles. Handel drew heavily on the continental, particularly Italian,Baroque style, but was also highly influenced by English composers such as Purcell. He was a

prolific composer, producing major orchestral works such as the Water Music , and the Music forthe Royal Fireworks . His opera, including Rinaldo (1711,1731), Orlando (1733), Ariodante

(1735), Alcina (1735) and Serse (1738, also known as Xerxes ), helped made Britain second onlyto Italy as a centre of operatic production. His sacred drama and choral music, particularly thecoronation anthem Zadok the Priest (written for the inauguration of George II in 1727) whichhas remained part of the ceremony for British monarchs, and above all, the Messiah , helped setthe British taste in music for the next 200 years. He was a major influence on future classicalcomposers including Haydn, Mozart and Beethoven.

o Ballad operaBallad operas developed as a form of English stage entertainment, partly in opposition to

the Italian domination of the London operatic scene. It consisted of racy andoften satirical spoken (English) dialogue, interspersed with songs that were deliberately keptvery short to minimize disruptions to the flow of the story. Subject matter involved the lower,often criminal, orders, and typically showed a suspension (or inversion) of the high moral valuesof the Italian opera of the period. The first, most important and successful was The Beggar'sOpera of 1728, with a libretto by John Gay and music arranged b yJohn Christopher Pepusch,

both of whom probably influenced by Parisian vaudeville and the burlesques and musical playsof Thomas D'Urfey (1653 1723), a number of whose collected ballads they used in their work.

John Gay produced further works in this style, including a sequel under the

title Polly and he was followed by many other composers. There was also a general revival inEnglish language opera in the 1730s, largely attributed to Thomas Arne, the first Englishcomposer to experiment with Italian-style all-sung comic opera, unsuccessfully in The Temple of

Dullness (1745), Henry and Emma (1749) and Don Saverio (1750), but triumphantly in Thomasand Sally (1760). His opera Artaxerxes (1762) was the first attempt to set a full-blown operaseria in English and was a huge success, holding the stage until the 1830s. Arne played a majorrole in moving the ballad opera into a more pastoral form, together with Isaac
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Bickerstaffe producing Love in a Village (1763) using more original music that imitated, ratherthan reproduced, existing ballads. It was followed by other works like WilliamShield' s Rosina (1781). Although the form declined in popularity towards the end of theeighteenth century, it was maintained into the nineteenth century by figures such as CharlesDibdin and his family and its influence can be seen in light operas like those of Gilbert andSullivan' s, particularly their early works like The Sorcerer (1877).

o The popularisation of musicIn the eighteenth century the increasing availability of instruments such as

the harpsichord, spinet and later the piano, and cheap print meant that works created for operaand the theatre were often published for private performance, with Thomas Arne' s (1710 1778)song "Rule Britannia" (1740) probably the best-known. From the 1730s elegant concerthalls began to be built across the country and attendance rivalled that of the theatre, facilitating

visits by figures such as Haydn, Bach and the young Mozart. The Italian style of classical musicwas probably first brought to Scotland by the Italian cellist and composer Lorenzo Bocchi, whotravelled to Scotland in the 1720s, introducing the cello to the country and then developingsettings for lowland Scots songs. He possibly had a hand in the first Scottish Opera, the

pastoral The Gentle Shepherd , with libretto by the makar Allan Ramsay. The extension ofinterest in music can be seen in the volume of musical publication, festivals, and the foundationof over 100 choral societies across the country. George III (reigned 1760 1820), and thearistocracy in general, continued to be patrons of music through the foundation of organisationslike the Royal Concert of Music in 1776 and events like the Handel Festival from 1784. Outsideof court patronage there were also a number of major figures, including the Scottish

composer Thomas Erskine, 6th Earl of Kellie( 1732 1781) well known in his era, but whosework was quickly forgotten after his death and has only just begun to be reappraised.
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Classical music

Classical music of the United Kingdom is defined as formally composed and writtenmusic of chamber, concert and church type as distinct from popular ,traditional, or folk music. The term in this sense emerged in the early 19th century, not long after the United Kingdom ofGreat Britain and Ireland came into existence in 1801. Composed music in these islands can betraced in musical notation back to the 13th century, with earlier origins.

It has never existed in isolation from European music, but has often developed indistinctively insular ways within an international framework. Inheriting the European classicalforms of the 18th century (above all, in Britain, from the example of Handel), patronage and theacademy and university establishment of musical performance and training in the United

Kingdom during the 19th century saw a great expansion. Similar developments occurred in theother expanding states of Europe (including Russia) and their empires. Within this internationalgrowth the traditions of composition and performance centred in the United Kingdom, includingthe various cultural strands drawn from its different provinces, have continued to evolve indistinctive ways through the work of many famous composers.

o Early and Baroque music (review)We cannot talk about classical music without refering to the beginnings. Music in the

British Isles, from the earliest recorded times until the Baroque and the rise of recognisablymodern classical music, was a diverse and rich culture, including sacred and secular music andranging from the popular to the elite. Each of the major nationsof England, Ireland, Scotland and Wales retained unique forms of music and of instrumentation,

but British music was highly influenced by continental developments, while British composersmade an important contribution to many of the major movements in early music in Europe,including the polyphony of the Ars Nova and laid some of the foundations of later national andinternational classical music.

Musicians from the British Isles also developed some distinctive forms of music,including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons andthe carol in the medieval era and English madrigals, lute ayres and masques inthe Renaissance era, which led particularly to English language opera developed in theearly Baroque period. The dominant figure in classical music in the later baroque era, and

beyond, was the German-born George Frideric Handel (1685 1759).
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o Early nineteenth centuryWith the Act of Union 1800 passed by both the Parliament of Great Britain and

the Parliament of Ireland, the United Kingdom of Great Britain and Ireland was formed, and it

becomes possible to speak of classical music in the United Kingdom. This was also the periodwhen classical music began to be recognised as an important element of British and Irish cultureand to be placed on a more organised basis that could match some of the developments seen incontinental Europe. Music in this period has been seen as dominated by continental trends andcomposers.

Major foundations

In 1813 the London Philharmonic Society was established, which played an importantrole in the development of musical life in the kingdom. Founders included Si rGeorgeSmart, Johann Baptist Cramer, Muzio Clementi, William Ayrton (musical director of the King'sTheatre) , William Shield, Henry Bishop, Thomas Attwood( composer and organist of St Paul'sCathedral, and teacher of John Goss) , Johann Peter Salomon and Vincent Novello. Under theiraegis an annual programme of concerts of international calibre was established. The Society wasa commissioning patron of Beethoven' s Choral Symphony (No. 9).

Musical training was placed on a newly professional footing by the creation in 1822 ofthe Royal Academy of Music, which received a royal charter in 1830, which attempted to trainBritish musicians to the same standards as those of the continent. Its first principal was theoratorio composer Dr William Crotch (1745 1847), and the first tutor of piano was CiprianiPotter (1792 1871). Potter was the first London performer of Mozart and Beethoven concerti.

He wrote nine symphonies and four piano concerti and as principal from 1832-59 was highlyinfluential in the development of British music and the profession of musician.

The significance of classical music in Ireland, and to a degree its place in conflictingBritish and Irish identities, was signalled by the foundation of the Dublin Choral Society in 1837,the Irish Academy of Music in 1848 (which was to be granted a royal charter in 1872); and theRoyal Choral Institute in 1851 under such figures as Sir Robert Prescot.

Performers and composers

In the earlier part of the century the British singers Michael Kelly, Nancy

Storace and John Braham were prominent and by their example sustained the international operaand oratorio works of Handel, Haydn, Mozart and their successors in the British arena. Braham,whose career thoroughly spanned the opera stage and concert platform, established a tradition in

public recital which was continued by his successors down into the early 20thcentury .[10] Arias or ballads from the English opera became concert standards in recital.
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Orchestras which were founded in this period included the Royal Liverpool PhilharmonicOrchestra (1840), the Hall Orchestra at Manchester under Sir Charles Hall (1858), and theScottish Orchestra (1891), now the Royal Scottish National Orchestra.

English language opera

One of the notable features of the mid-19th century is the revival of a tradition of Englishlanguage opera. Arthur Sullivan, a pupil of Goss, came to public attention in the 1860swith Shakespeare incidental music, The Tempest (1862) ,The Merchant of Venice (1871), his IrishSymphony (1863 1866) and In Memoriam .

The period 1835-1865 saw the height of popularity for the Irish born MichaelBalfe (1808 70), composer of The Bohemian Girl (1843), the operas of John PykeHullah (1812 84), and the earlier English operas of German-born Sir Julius Benedict (1804 85),including his best-known, The Lily of Killarney (1862). Maritana (1845) was the most famousand ballad-rich of the Irish born William Vincent Wallace' s operas. The operas of Frederic

Clay (1838 89) were among the most popular of the period, including Ages Ago (1869), TheGentleman in Black (1870) and Happy Arcadia (1872), all written with W. S. Gilbert (1836 1911).

The Savoy opera collaborations between Gilbert and Sullivan began in 1875 with Trialby Jury . They were in the British light opera tradition with spoken dialogue. They reached theirheyday in the 1880s with The Pirates of Penzance (1880), and The Gondoliers (1889), andconcluded in 1896 with The Grand Duke . They had rivals like Alfred Cellier' s (1844 1891) Dorothy (1886) and The Mountebanks (1892), but were the most successful operas of theera and have been among the most frequently revived.

Religious and mythical worksIn the later 19th century there was an increasing appetite for large scale works that

covered epic, biblical and mythical themes. This was reflected in the topics of operas, cantatasand oratorios, often utilising British poems and novels. These included choral workslike William Sterndale Bennett' s The May Queen (1858), Ebenezer Prout' s Hereward and King

Alfred and cantatas like Sullivan and Henry Fothergill Chorley's The Masque at Kenilworth (1864), John Francis Barnett's Ancient Mariner (1867) and Frederic HymenCowen' s The Rose Maiden (1870) and Harold (1895). Similar trends can be seen in operas suchas George Alexander Macfarren' s Robin Hood (1860), Sullivan's Ivanhoe (1891) and in the

operas of Arthur Goring Thomas, which included Esmeralda (1883) and Nadeshda (1885). Theworks of Handel, Mendelssohn and Spohr continued to be a major part of the British musicalrepertoire but there was an increasing emphasis on religious drama. The Italian-born Sir MichaelCosta' s Eli (1855) and Naaman (1864) set the pace for the later development in the works ofSullivan, including The Martyr of Antioch (1880) The Light of the World (1873), and TheGolden Legend (1886), John Liptrot Hatton' s Hezekiah (1877), JosephBarnby' s Rebekah (1870), William Cusins' sGideon (1871), Alfred R. Gaul' s The Holy
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or)http://en.wikipedia.org/wiki/Michael_Costa_(conductor)http://en.wikipedia.org/wiki/Esmeralda_(opera)http://en.wikipedia.org/wiki/Arthur_Goring_Thomashttp://en.wikipedia.org/wiki/George_Alexander_Macfarrenhttp://en.wikipedia.org/wiki/Frederic_Hymen_Cowenhttp://en.wikipedia.org/wiki/Frederic_Hymen_Cowenhttp://en.wikipedia.org/wiki/The_Masque_at_Kenilworthhttp://en.wikipedia.org/wiki/The_Masque_at_Kenilworthhttp://en.wikipedia.org/wiki/Cantatahttp://en.wikipedia.org/wiki/Ebenezer_Prouthttp://en.wikipedia.org/wiki/William_Sterndale_Bennetthttp://en.wikipedia.org/wiki/The_Mountebankshttp://en.wikipedia.org/wiki/Dorothy_(opera)http://en.wikipedia.org/wiki/Alfred_Cellierhttp://en.wikipedia.org/wiki/The_Grand_Dukehttp://en.wikipedia.org/wiki/The_Gondoliershttp://en.wikipedia.org/wiki/The_Pirates_of_Penzancehttp://en.wikipedia.org/wiki/Trial_by_Juryhttp://en.wikipedia.org/wiki/Trial_by_Juryhttp://en.wikipedia.org/wiki/Savoy_operahttp://en.wikipedia.org/wiki/W._S._Gilberthttp://en.wikipedia.org/wiki/Happy_Arcadiahttp://en.wikipedia.org/wiki/The_Gentleman_in_Blackhttp://en.wikipedia.org/wiki/The_Gentleman_in_Blackhttp://en.wikipedia.org/wiki/Ages_Agohttp://en.wikipedia.org/wiki/Frederic_Clayhttp://en.wikipedia.org/wiki/Frederic_Clayhttp://en.wikipedia.org/wiki/William_Vincent_Wallacehttp://en.wikipedia.org/wiki/Maritanahttp://en.wikipedia.org/wiki/The_Lily_of_Killarneyhttp://en.wikipedia.org/wiki/Julius_Benedicthttp://en.wikipedia.org/wiki/John_Pyke_Hullahhttp://en.wikipedia.org/wiki/John_Pyke_Hullahhttp://en.wikipedia.org/wiki/The_Bohemian_Girlhttp://en.wikipedia.org/wiki/Michael_Balfehttp://en.wikipedia.org/wiki/Michael_Balfehttp://en.wikipedia.org/wiki/Overture_In_C_(In_Memoriam)http://en.wikipedia.org/wiki/Symph

Documents

Music in the United Kingdom