Professional Documents
Culture Documents
To cite this article: Christina Bashford (1999) Learning to Listen: audiences for
chamber music in early-Victorian London, Journal of Victorian Culture, 4:1, 25-51, DOI:
10.1080/13555509909505978
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Learning to Listen:
audiences for chamber music in
early-Victorian London
Christina Bashford
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Christina Bushf m d
I
Between the end of the eighteenth century and the beginning of the
twentieth there was an observable shift in the social behaviour and
listening habits of audiences at concerts of high art music in London.
This change in behaviour may be illustrated by two contemporary,
albeit fictional, descriptions: Fanny Burney’s account of the Pantheon
Concerts in Cecilia (1782), and E.M. Forster’s well-known portrayal of
a performance of Beethoven’s Fifth Symphony at the Queen’s Hall in
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Christina Bashf‘d
I1
Chamber-music concerts, centred around the string quartets, quintets
and piano trios of Haydn, Mozart and Beethoven, were introduced to
the fashionable West End of London in 1835 and thereafter increased
rapidly (in 1840 there were thirteen such concerts a season, by 1850
more than sixty). In highlighting chamber music these concerts
presented listeners with works in which ‘conversational’ textures and
tightly-wrought musical arguments were to the fore. Such musical
characteristics, allied to the cerebral qualities already ascribed to much
of the chamber-music repertory, meant that concentrated listening and
a general seriousness of purpose were inevitably high priorities for both
concert-givers and audiences. Promoters and press alike represented
chamber-music concerts as attracting the most serious-minded and
attentive audiences in London. In the following account from The Atlas
of 1841, the author explains what marked them out from most others:
There is neither flutter nor stareing [sic], brilliant light nor fine dresses,
to remind one of a huge concert-room filled merely with eyes and having
music as an accompaniment to the ‘see and be seen’ amusement of its
occupants. There is none of that eternal whispering, and feet-shuffling,
and nose-blowing, which it is impossible to repress in what are deemed
fashionable assemblages. ... Everything goes on with the most luxurious
quietude and propriety; - the performers seem as though, for the
pleasure of the thing, they had met to discuss musical beauty in the most
epicurean way imaginable, and the audience take their seats around
them, like some private party, determined to avail themselves to the
utmost of their invitation to 1i~ten.l~
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Learning to Listen
The discussion that follows will examine the listening habits and
seriousness of purpose among West End chamberconcert audiences in
the 1830s, 1840s and early 1850s, focusing on their apparently common
features, and drawing special attention to what went on at two notable
concert clubs: the Beethoven Quartett Society and the Musical Union.
After a brief chronology of the concerts, three themes will be explored:
the audiences themselves; the procedures by which an atmosphere of
intimacy, seriousness and concentrated listening was cultivated in the
concert-room;15 and social etiquette (in particular, what ‘quietness’
meant to contemporary audiences).
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I11
The first chamber-music concerts were given as series, and held in
dedicated concert halls. Among them were the Classical Chamber
Concerts at Willis’s Rooms in King Street, StJames’s, which were run by
Nicolas Mori and Robert Lindley, two seasoned London musicians, and
the Quartett Concerts at the Hanover Square Rooms, organised by
Henry Blagrove and Charles Lucas, two young instrumentalists busy
establishing themselves on the professional circuit;i6 both series began
in the mid-1830s (see Table 1, section 1). From the early 1840s they
were supplemented by a new type of series: that held in West End
houses. These were usually given in a performer’s lodgings (eg.
William Sterndale Bennett’s Classical Chamber Concerts in his rooms
in Upper Charlotte Street), though sometimes took place in rooms in
certain domestic dwellings that could be specially hired for concerts
(e.g. Banister’s Quartet Parties, some of which took place in Blagrove’s
Rooms in Mortimer Street; see Table 1,section 2). Both types of concert
presented instrumental chamber music interspersed with vocal items,
performed by groups of musicians from the large pool of London free-
lance players for whom appearing in concerts was part and parcel of
what Cyril Ehrlich has described as ‘piecing together a living’ as a
nineteenthcentury professional musician.”
In 1845,not long after the vogue for ‘house concerts’ had begun, two
specialist chamber-music clubs, the Beethoven Quartett Society and the
Musical Union, were established, giving concerts in rooms in Harley
Street and Mortimer Street respectively (see Table 1, section 3). Both
built up the ideals of intimate performances and concentrated listen-
ing that had been developing in the preceding decade. The Beethoven
Quartett Society was committed to the performance of a complete cycle
of Beethoven’s sixteen string quartets (excluding the Grosse Fuge,
op.133) each season; the Musical Union explored a broader repertory,
29
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All the concert series discussed above were West End events, their
venues located in such fashionable districts as St James’s and Harley
Street, and their audiences drawn predominantly from those who had
residences in the area.*I Almost all operated by subscription - the
tried and tested method for ensuring support and, of course, social
exclusivity.22Subscriptions were expensive: a guinea typically bought
one subscription to a series of three of W.S. Bennett’s or Charles
Salaman’s house concerts; and tickets for single concerts were a costly
alternative (Salaman offered single tickets for 10s. 6d.). The high cost
of concert-going, allied to the location and inaccessibility of concert
venues on the one hand and social conventions such as formal dress on
the other, effectively prohibited most of the lower and middle ranks of
the middle classes from attending (a number of musicians and people
associated with the music trade would have been a notable exception),
and meant that the regular audience for chamber-music concerts was
largely confined to members of the aristocracy and upper middle
classes.23In addition, potential subscribers were sometimes vetted on
social and, more significantly, musical grounds. Tickets for Dulcken’s
house concerts could apparently be obtained only at music shops where
a concert-goer was and membership of Ella’s and Alsager’s
chamber-music clubs was even more tightly controlled. To belong to
the Musical Union one had to prove a serious interest in music, be
nominated by someone within the society, and have had a personal
introduction to Ella.25Similarly, the qualifications for membership of
the Beethoven Quartett Society were ‘not only a certain rank or station
in Society, but a certain knowledge and estimation of the compositions
of Beethoven’.26In other words, the sine qua non for a potential sub-
scriber appears to have been a combination of social status and serious
musical leanings. Moreover, many music critics of the time suggested
that because several of the new chamber-music series were held at
the beginning of the concert season (i.e. in the winter and even late
31
Christina Bashford
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Learning to Listen
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Learning to Listen
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Learning to Listen
of m ~ v e r n e n t sElla
. ~ ~ produced what he styled a ‘Synopsis Analytique’
for each concert, had it printed and sent out in advance to all Musical
Union members, who were advised to read it before the concert.49The
synopses, effectively analytical programme notes, mark the beginning
of the nineteenthcentury English tradition of programme-note writing
that embraced G.A. Macfarren’s analytical programmes for the
Philharmonic Society and J.W. Davison’s notes for Chappell’s Popular
Concerts, and led to the famous and extensive accounts of Beethoven’s
symphonies written by Sir George Grove, editor of the famous music
dictionary that still bears his name, for concerts at the Crystal Palace.50
Ella’s essays always bore as a catchline the words of the French violinist
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Pierre Baillot: ‘it is not enough for the artist to be well prepared for the
public, the public must also be well prepared for what it is going to
hear’.51Although the notes often provided historical background to
the work, their main purpose was to identify the principal thematic
material in each movement, and to give some description of the way the
thematic material had been used and/or transformed by the composer.
By providing a series of thematic incipits printed in musical type, Ella
enhanced the means by which the musical listener could identify
aurally with the structure of each movement (see Fig. 1).When read
from a present-day standpoint, the notes can seem unsystematic and
dilettante (they certainly have none of the rigour of later contributions
to the programme-note genre) ; nevertheless, the vocabulary is tech-
nical, big structural moments such as unusual transitions and modu-
lations are invariably pointed out, and there is a clear sense of Ella
trying to give his musically-literate audience aural signposts through
each movement, and of his encouraging them to listen in a musically-
informed way. The notes drew admiration from many, including
Berlioz, who, having visited the Musical Union, wrote in a Paris
periodical:
Mr. Ella does not confine his attention to the performance of the master-
pieces which figure in the programmes of these concerts; he also wants
the public to understand them. Accordingly, the programme of each
matinee, sent in advance to the subscribers, contains an analysis or
synopsis of the trios, quartets and quintets which they are to hear; in
general it is a good analysis, appealing to the eye as well as the mind, by
adding to the critical text musical extracts, the theme of each piece, the
most important musical figure or the most striking harmonies or modu-
lations. One could not do more.52
For the Beethoven Quartett Society, which repeated the same works
each season, a permanent set of programmes was compiled by the viola
player Henry Hill and issued to members, who were expected to bring
37
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Fig. 1. Excerpt from Ella’s programme notes for the Musical Union, 19 May 1846;
published in the Recwd of th.e Musical Union (1846), no. 4.
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Learning to Listen
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Christina Bashford
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Fig. 2. Excerpt from Hill's programme for the third concert of the Beethoven Quartett
Society's season; published in The Five Programmes of the Beethoven Qunr?.ett Society
(London: R. Cocks & Go., 1846).
40
Learning to Listen
41
Christina Bashford
decided impression that by, say, the early 1840s the tide was turning,
and that the old ways (in chamber-music concerts at least) were
becoming intolerable. The Musical Union, in particular, was able to
build on this foundation. Its motto was: ‘The greatest homage to music
is in silence’,62and over the years Ella developed quite a reputation for
his insistence on quiet. In his Cyclopedic Survey of Chamber Music W.W.
Cobbett remembered affectionately how:
It was a sight for the gods when Ella rose from his gilded seat, held aloft
his large, capable hands, clapped them, and called for SILENCE in
a stentorian voice. After this, no lord or lady present, however dis-
tinguished, dared to interrupt the music by fashionable or any other kind
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of chatter.63
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=p:
$ h3
Learning to Listen
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Endnotes
1. James H. Johnson, Listening in Paris: a Cultural HiTtwy (Berkeley and London:
University of California Press, 1995).
2. See in particular James Parakilas’ review of Listening in Park in TheJournal of Modern
Histwy 68.1 (1996): 1935, and William Weber, ‘Did People Listen in the 18th
Century?’,Ear4 Music 25.4 (1997):67891.
3. Fanny Burney, Cecilia, ed. Peter Sabor and Margaret Anne Doody (Oxford and New
York: Oxford University Press, 1988), 274.
4. E.M. Forster, Hovardr End, ed. Oliver Stallybrass (London: Penguin, 1975), 456.
5. For an informative discussion of eighteenthcentury London audiences and behav-
iour see Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge:
Cambridge University Press, 1993), 647. O n the question of ‘divided attention’ or
‘half-listening’ by eighteenth-century audiences, and its parallels in modern
culture, see Parakilas, review, 194.
6. See Forster, Howa7ds End, 447.
7. For discussion of the development of absorbed listening in the nineteenth century,
and of music as an introspective experience born of romanticism, see Peter Gay, The
Bourgeois Experience: Victoria to Freud, vol. 4: The Naked Heart (London: Harper Collins,
1995), 11-35. The period also saw many developments in the teaching of musically-
46
Learning to Listen
13. This was the focus of my unpublished PhD dissertation, ‘Public Chamber-Music
Concerts in London, 183550: Aspects of History, Repertory and Reception’ (King’s
College, University of London, 1996), which was based on a wide reading of nine-
teenthcentury newspapers,journals and archival materials.
14. T h Atlas 27 February 1841,140.
15. The terms ‘intimacy’and ‘intimate’ can have many meanings, but are used in this
discussion in two senses: (1) to denote the relatively small size and quasidomestic
arrangement of the performance spaces under discussion; (2) to connote the group
audience feeling that can be engendered by listening to music under such con-
ditions. Such group feelings are particularly appropriate to chamber music, which
when listened to closely can make the listener feel not only in some sort of com-
munion with the other members of the audience, but also directly connected with
the music-making itself. Used in the latter context, ‘intimacy’does not necessarily
presuppose a preexisting social framework, though in the case of the concerts
under discussion (especiallythe Musical Union and Beethoven Quartett Society),it
seems clear that some of the regular concert-goerswere known to one another.
16. For a discussion of the lifestyle and status of the professional musician in the early
nineteenth century see Cyril Ehrlich, The Music Profession in Britain since the Eigh-
teenth Century: a Social History (Oxford Clarendon Press, 1985), 30-50.
17. See Ehrlich, The Music Profission, 266.
18. An exception was the Director’sannual benefit concert, which included vocal items.
19. For a detailed account of the establishment of the Beethoven Quartett Society see
David B. Levy,‘ThomasMassa Alsager, Esq.: a Beethoven Advocate in London’, 19th
Century Music 9.2 (1985): 119-27.
20. T h e first modern assessment of Ella’s life is in John Ravell, l o h n Ella, 1802-1888’,
Music and Letters 34 (1953): 93105. For a reexamination of Ella’s early career and
his role in establishing the Musical Union see Bashford, ‘Public Chamber-Music
Concerts’, 5&9,77-82,152-80.
21. Chamber-music concerts also operated in the mercantile City district at this period,
drawing audiences principally from the area east of Temple Bar; they remain
outside the scope of the present study.
22. For a discussion of the nature and use of subscription systems for eighteenth-
century concerts see McVeigh, Concert Lije, 1322.
23. Similar codes of social exclusivity can be observed at the orchestral concerts given
by the Philharmonic Society, which also operated by subscription; for an informa-
tive discussion see Ehrlich, First Philharmonic, 17-19.
24. Morning Herald 7 December 1843.
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Christina Bashford
benefit morning concert, late in July, where all the prodigious people go, and
compare it with that of one of our serial concerts which begin at this period of the
season Uanuary], and which are often but slenderly attended, he will be struck with
the difference; -the one all fashion, noise, astonishment, and exhaustion- the other
comparatively scanty in its numbers, but attentive, and full of freshness and enjoy-
ment’.
28. On the strong associations between gender and instruments in domestic music-
making see Richard Leppert, Music and Image: Domesticity, Z&ology and SocieCultural
Formation in Ezghteenth-Century England (Cambridge: Cambridge University Press,
1988), 107-75.
29. For an account of the piano in domestic music-making in the early nineteenth
century and an examination of the domestic repertory see Dorothy DeVal, ‘Gradus
ad Parnassum: the Pianoforte in London, 1770-1820’ (unpublished PhD, King’s
College, University of London, 1991). Later in the century the piano (as ‘household
orchestra and god’) was to become the ubiquitous domestic instrument, at the
centre of home entertainment, as more and more people spent their disposable
incomes on pianos, music and lessons: see Cyril Ehrlich, The Piano: a Social History
(Oxford: Clarendon Press, 1990),88107.
30. For a general discussion of the implications, for modes of listening, of the growth of
musical literacy in the nineteenth century and the shift towards a musical culture
centred around the piano see Leon Botstein, ‘Listening through Reading: Musical
Literacy and the Concert Audience’, 19th Century Music 16.2 (1992): 12945.
31. See J.R. Sterndale Bennett, The Life of William S h d a I e Bennett (Cambridge: Cam-
bridge University Press, 1907), 209.
32. For further biographical information see the articles on Attwood (by Nicholas
Temperley) and Potter (by/Philip H. Peter) in Stanley Sadie, ed., The New Grove
Dictionary of Music and Musicians (London: Macmillan, 1980) and the article on
Carnaby in James D. Brown and Stephen S. Stratton, British Musical Biography
(London: William Reeves, 1897).
33. William Weber, Music and the Middle Class: the Social Structure of Concert Life in London,
Paris and Vienna (London: Croom Helm, 1975), 653,1645 (tables 15-16).
34. They include the Duke of Cambridge (President of the Musical Union), the Earl of
Falmouth, Sir Andrew Barnard (both committee members) and Sir Giffin Wilson.
Precise numbers cannot be determined, due to the absence of subscription lists for
the earlier concerts, but it seems likely there was a good deal of crossover between
audiences.
35. On the typical daily activities of respectable women of the time see Michael Curtin,
48
Learning to Listen
Pmpnety and Position: a Study of Victm’anManners (New York and London: Garland,
1987), 215-38.
36. For general biographical information on these musicians see the entries in Sadie,
The New Grove Dictionary.
37. On Dragonetti see Fiona M. Palmer, Dommico Lhagonetti in England, 1794-1846: the
Career of a Double Bass Virtuoso (Oxford Clarendon Press, 1997); an account of
Moscheles’ life is in Emil F. Smidak, Isaak-Zpaz Moscheles: the Lye of the Composer and
his Encounters with Beethoven, Liszt, Chopin and Mendahohn (Aldershot: Scolar Press,
1989); for an account of Smart’s career see Ehrlich, The Music Profession, 3742. The
Earl of Falmouth was President of the society; Sir William Curtis was treasurer. No
subscription lists survive, but the names of some subscribers were published in The
Times (25 March 1846), indicating some overlap with chamber-music audiences of
the previous decade.
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38. For further biographical information see the entries by Nigel Burton in The New
Grove Dictionary of Womm Composers, ed. Julie Anne Sadie and Rhian Samuel
(London and Basingstoke: Macmillan, 1994).
39. The halls under discussion had approximate seating capacities of 800 to 900; see
Alec Hyatt King, ‘The London Tavern: a Forgotten Concert Hall’, Musical Times 127
(1986): 382-5, for information on the Hanover Square Rooms and Willis’s Rooms
(there listed as Almack’s larger room).
40. Morning Herald8 February 1839.
41. The Times31 March 1837.
42. Illustrated London News 27 June 1846, 419; see also Fig. 3.
43. Prospectus for the Musical Union (1845; private collection).
44. Morning Chronicle 28 January 1847.
45. See the account of Madame Dulcken’s concerts in the CourtJournal of 24 January
1846,77. The Societyof British Musicians initially styled their soiries ‘Conversazioni’.
46. The role of conversation in eighteenth-century culture is discussed by John Brewer
in his The Pleasures of the Imagination: English Culture in the Eighteenth Century (Lon-
don: Harper Collins, 1997), 510-12.
47. This tripartite classification of Beethoven’s music was, incidentally, not widely
perceived at the time, though it was of course particularly well illustrated by the
quartet repertory.
48. One exception should be singled out. Blagrove, a few years earlier, had included in
the handbills for his Quartett Concerts details of the tempo indications and keys of
the individual movements of each work performed.
49. The synopsis formed part of a four-page pamphlet containing information about
the society, biographies of the performers, general musical news etc. At the end of
the season the individual numbers were bound up and published as the &cord of the
Musical Union.
50. Grove’s analyses of Beethoven symphonies became widely known through their
separate publication, as Beethoven and his Nine Symphonies (London and New York:
Noveilo, Ewer & Co., 1896). His four-volume Dictionary of Music and Musicians
(London: Macmillan, 1879-89) gave rise to a number of expanded subsequent
editions, of which the twenty-volumeNew GrmeDictionary is the latest. For a history
of the programme note see George Grove and H.C. Colles, ‘Programme Notes’,
Grove’sDictionary ofMusic and Musicians, 5th ed., ed. Eric Blom (London: Macmillan,
1954); on the notes for the Philharmonic see Ehrlich, FirstPhilhamic, 121-2, and
on the programmes for the Crystal Palace concerts see Musgrave, The Musical Lye,
113-16.
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Christina Bashford
57. T h e title pages of some extant volumes are engraved with the name of Ewer & Go.
of London; volumes in the library of the Royal College of Music, London, carry the
stamp of the music importer and publisher G.k Augener. The cost of the miniature
scores is not known. For a detailed bibliographic description of the Heckel scores
and an assessment of the role of Ewer & Co. in their dissemination see Cecil
Hopkinson, ‘The Earliest Miniature Scores’, Music h i m 33 (1972), 138-44.
58. Copies belonging to the musician and educator John Hullah and to Sir George
Grove are in the library of the Royal College of Music, London.
59. The Atlas 2 February 1839,75.
60. Private condemnations of the aristocracy for such behaviour were becoming
common, especially by professional musicians and music critics. Ella, for example,
recorded his personal annoyance at a general’s daughter talking at a private con-
cert: ‘[she] exhibited the bad taste of a Fashionable Aristocrat by talking loud when
good music was played’ (diary, 19 February 1836; private collection). In print,
criticism tended to be less severe, though critics clearly played an important part in
shaping changes in audience behaviour, not only at concerts but also at the opera.
For a discussion of the role of journalists in changing modes of fashionable
behaviour in London opera houses, see Jennifer Lee Hall, ‘The Re-fashioning of
Fashionable Society: Opera-going and Sociability in Britain, 1821-1861’ (PhD, Yale
University, 1996; UMI no. 9632502).
61. Musical World 5 March 1840, 143. The idea that quiet listening became strongly
associated with the middle classes has been essayed by a number of scholars (among
them Johnson in Listening in Paris and Gay in The Naked Heart).
62. My translation. T h e motto was printed in programmes in Italian.
63. Walter Willson Cobbett, ‘Musical Union’, Cobbett’s CyclopedicSum? of ChamberMusic,
2nd ed., vol. 2 (Oxford: Oxford University Press, 1963), 185; the survey was first
published in 1929.
64. ‘“Ah,” he [the Duke of Cambridge] once remarked at a musical party where every
one was talking; “youshould get Ella here; he’d soon stop that.”’ Recounted in H.R.
Haweis,John Ellar a Sketchfi-omLqe ([London: s.n.1, 18851,1.
65. ZUustrated London News 27June 1846,419.
66. On the role of London in the modernisation of English concerts and the develop
ment of concert life in other large cities see Ehrlich, TheMusicpmfcssim, 60-65. One
notable example of the English provinces apparently followingLondon’s lead is the
establishment in 1847 of the Brighton Musical Union, along the lines of Ella’s
model, by the violinist Antonio Oury and his pianist wife; this society capitalised on
the seasonal availability of London audiences and players.
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Learning to Listen
67. Lydia Goehr, The Imaginary Museum of Musical Works: an h a y in the Philosophy of
Music (Oxford: Oxford University Press, 1992), 23M2.
68. For a discussion of social behaviour in public places see Curtin, Propmly andPosition,
155-71.
69. Etiquette for All, or Rules of Conduct for euery Circumstance in Life (Glasgow: George
Watson, 1861), 32-3.
70. How to Behave: a Pocket Manual of Etiquette, and Gui& to Correct Personal Habits
(Glasgow:John S. Marr; London: Houlston &Wright, [1867]), 101.
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