Page 180 - 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
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glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
tributed to a large number of first performances in London.8 The most fa-
mous move in this direction was the approach to Beethoven to compose
new music for the Society, including the Symphony No. 9. Large sums
of money were paid to Beethoven to encourage him to come to London
(which he never did) and to write new works for performance at the con-
certs (which he did).9 Although Beethoven was not as poor as he claimed,
he was certainly grateful for the generosity and kindness of the society. The
commission for the Ninth Symphony did produce the work which was duly
performed in the Society’s concerts in 1825, even if it had already been per-
formed in Vienna.10
Two other composers from Germany featured prominently in the
1820s. Weber came to London in 1826 to conduct his opera Oberon at the
Covent Garden Theatre and a Philharmonic concert including some of his
works to great acclaim and to his great satisfaction on 3 April 1826, but he
died two months later. At his funeral Mozart’s Requiem was performed.
The second composer was Mendelssohn who came in 1829 for the first of
numerous visits which included the commission and/or first performanc-
es in England of his Symphony No. 4 in A (Italian), Symphony No 3 in
A minor (Scottish) and the Overture Fingal’s Cave, inspired by the Scot-
tish island of Staffa that he visited. Mendelssohn was treated generously by
the society, finding great satisfaction, while returning the favour with out-
standing orchestral and other works including overtures. It was certainly
one of the most rewarding associations that the Society experienced. Nu-
merous other composers were invited to perform their works in the next
decades: Berlioz, Liszt and Wagner were notable visitors.
Cipriani Potter and English Music
Very little from English composers was performed, at least to start with,
a situation which is easy to explain. There were not many capable English
8 During the 1820 season Spohr changed the role of the conductor permanently to real di-
rection by removing the piano in performances.
9 The overture Namensfeier was probably given its first performance by the Society
on 25 March 1816, although it is possible that the overture had been previously per-
formed in Vienna.
10 Details of the Philharmonic’s dealings with Beethoven can be found in: Hogarth,
The Philharmonic Society of London; George Grove, Beethoven and his Nine Sym
phonies (London: Novello and Oxford University Press, 1896); Foster, History [1912];
and Nicholas Cook, Beethoven Symphony No. 9 (Cambridge: Cambridge University
Press, 1993).
178
tributed to a large number of first performances in London.8 The most fa-
mous move in this direction was the approach to Beethoven to compose
new music for the Society, including the Symphony No. 9. Large sums
of money were paid to Beethoven to encourage him to come to London
(which he never did) and to write new works for performance at the con-
certs (which he did).9 Although Beethoven was not as poor as he claimed,
he was certainly grateful for the generosity and kindness of the society. The
commission for the Ninth Symphony did produce the work which was duly
performed in the Society’s concerts in 1825, even if it had already been per-
formed in Vienna.10
Two other composers from Germany featured prominently in the
1820s. Weber came to London in 1826 to conduct his opera Oberon at the
Covent Garden Theatre and a Philharmonic concert including some of his
works to great acclaim and to his great satisfaction on 3 April 1826, but he
died two months later. At his funeral Mozart’s Requiem was performed.
The second composer was Mendelssohn who came in 1829 for the first of
numerous visits which included the commission and/or first performanc-
es in England of his Symphony No. 4 in A (Italian), Symphony No 3 in
A minor (Scottish) and the Overture Fingal’s Cave, inspired by the Scot-
tish island of Staffa that he visited. Mendelssohn was treated generously by
the society, finding great satisfaction, while returning the favour with out-
standing orchestral and other works including overtures. It was certainly
one of the most rewarding associations that the Society experienced. Nu-
merous other composers were invited to perform their works in the next
decades: Berlioz, Liszt and Wagner were notable visitors.
Cipriani Potter and English Music
Very little from English composers was performed, at least to start with,
a situation which is easy to explain. There were not many capable English
8 During the 1820 season Spohr changed the role of the conductor permanently to real di-
rection by removing the piano in performances.
9 The overture Namensfeier was probably given its first performance by the Society
on 25 March 1816, although it is possible that the overture had been previously per-
formed in Vienna.
10 Details of the Philharmonic’s dealings with Beethoven can be found in: Hogarth,
The Philharmonic Society of London; George Grove, Beethoven and his Nine Sym
phonies (London: Novello and Oxford University Press, 1896); Foster, History [1912];
and Nicholas Cook, Beethoven Symphony No. 9 (Cambridge: Cambridge University
Press, 1993).
178
