Page 179 - Weiss, Jernej, ur./ed. 2023. Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo ▪︎ Music societies in the long 19th century: Between amateur and professional culture. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 6
P. 179
the philharmonic society of london and its nineteenth-century contribution ...
ductors and musical administrators.7 There was considerable overlapping
of their activities in an era in which sharply defined musical specialisation
was not common. In addition there were another twenty five associates,
mostly instrumentalists, some singers, and two composers. The aim was
to create an orchestra and to present eight concerts annually in the period
roughly from February/March to May/June.
The Concerts and Continental Visitors
These concerts naturally included orchestral music, normally two sympho-
nies and one or two overtures per concert, a group of chamber pieces for
medium-sized ensembles, often with a leading piano part, and various vo-
cal ensemble pieces or solos with orchestral accompaniment. At first solo
concertos were excluded with only concertante works for three or more so-
loists being played, but later this rule was altered to include solo concertos.
The concerts were divided into two Acts, with a total duration of well over
three hours. The actual way in which the orchestral performances were
managed seems somewhat strange to us today. The orchestra was direct-
ed by the principal first violin known as the leader, but was also guided by
the conductor playing the piano from the full score and inserting any omis-
sions or correcting mistakes, a procedure which must have led to many dis-
agreements. The choice of leader and conductor was normally different for
each concert. This arrangement was changed in 1820 with the arrival of
Spohr who operated more like a modern conductor.
The choice of works provides an interesting and illuminating view of
the London musical world. Symphonies by Haydn, Mozart and Beethoven
were often performed, while there were some symphonies and overtures by
other composers, for example, Pleyel, Clementi, Cherubini, Romberg, Fer-
dinand Ries, Wöfl, and Bonifacio Asioli. The chamber music and vocal se-
lections varied considerably with music by Mozart, Haydn, Beethoven and
numerous works by lesser known composers, mostly from the European
mainland. There was a considerable enthusiasm for attracting the leading
composers from Austria and German lands and encouraging them to write
pieces specially for the Philharmonic Society in London.
The arrival of continental composers was significant. Clementi spent
most of his life in England, having arrived in 1815, Cherubini was made an
associate and then a member of the Society, Spohr came in 1820 and con-
7 Foster, History [1912], 6.
177
ductors and musical administrators.7 There was considerable overlapping
of their activities in an era in which sharply defined musical specialisation
was not common. In addition there were another twenty five associates,
mostly instrumentalists, some singers, and two composers. The aim was
to create an orchestra and to present eight concerts annually in the period
roughly from February/March to May/June.
The Concerts and Continental Visitors
These concerts naturally included orchestral music, normally two sympho-
nies and one or two overtures per concert, a group of chamber pieces for
medium-sized ensembles, often with a leading piano part, and various vo-
cal ensemble pieces or solos with orchestral accompaniment. At first solo
concertos were excluded with only concertante works for three or more so-
loists being played, but later this rule was altered to include solo concertos.
The concerts were divided into two Acts, with a total duration of well over
three hours. The actual way in which the orchestral performances were
managed seems somewhat strange to us today. The orchestra was direct-
ed by the principal first violin known as the leader, but was also guided by
the conductor playing the piano from the full score and inserting any omis-
sions or correcting mistakes, a procedure which must have led to many dis-
agreements. The choice of leader and conductor was normally different for
each concert. This arrangement was changed in 1820 with the arrival of
Spohr who operated more like a modern conductor.
The choice of works provides an interesting and illuminating view of
the London musical world. Symphonies by Haydn, Mozart and Beethoven
were often performed, while there were some symphonies and overtures by
other composers, for example, Pleyel, Clementi, Cherubini, Romberg, Fer-
dinand Ries, Wöfl, and Bonifacio Asioli. The chamber music and vocal se-
lections varied considerably with music by Mozart, Haydn, Beethoven and
numerous works by lesser known composers, mostly from the European
mainland. There was a considerable enthusiasm for attracting the leading
composers from Austria and German lands and encouraging them to write
pieces specially for the Philharmonic Society in London.
The arrival of continental composers was significant. Clementi spent
most of his life in England, having arrived in 1815, Cherubini was made an
associate and then a member of the Society, Spohr came in 1820 and con-
7 Foster, History [1912], 6.
177
