This book reconsiders the significance of the salon as a social and cultural phenomenon and as a source of artistic innovation and exchange in the long nineteenth century. This collection explores the idea of music in the salon during the long nineteenth century, both as a socio-cultural phenomenon, and as a source of artistic innovation and exchange. Drawing on a wide range of scholarly approaches, this book uses the idea of the salon as a springboard to examine issues such as gender, religion, biography and performance; to explore the ways in which the salon was represented in different media; and to showcase the heterogeneity of the salon through a selection of case studies. It offers fresh considerations of familiar salons in large cultural centres, as well as insights into lesser-known salons in both Europe and the United States. Bringing together an international group of scholars, the collection underscores the enduring impact of the European musical salon. ANJA BUNZEL holds a research position at the Czech Academy of Sciences. She gained her PhD in Musicology from Maynooth University and has published on Johanna Kinkel and nineteenth-century salon culture in both English and German. NATASHA LOGES is Head of Postgraduate Programmes at the Royal College of Music, London. Her publications include Brahms in the Home and the Concert Hall (Cambridge, 2014) and Brahms and his Poets (Boydell Press, 2017). She is a pianist, broadcaster and critic. Contributors: Maren Bagge, PéterBozó, Anja Bunzel, Katie A. Callam, Beatrix Darmstädter, Mary Anne Garnett, Harald Krebs, Clemens Kreutzfeldt, Veronika Kusz, Natasha Loges, Jennifer Ronyak, Kirsten Santos Rutschman, R. Larry Todd, Katharina Uhde, Michael Uhde, Harry White, Petra Wilhelmy-Dollinger, Susan Youens

A new wave of scholarship inspired by the ways the writers and musicians of the long nineteenth century themselves approached the relationship between music and words.

This book provides insight into how musical performances contributed to emerging ideas about class and national identity. Offering a fresh reading of bestselling fictional works, drawing upon crowd theory, climate theory, ethnology, science, music reviews and books by musicians to demonstrate how these discourses were mutually constitutive.

This volume reveals music's role in Victorian liberalism and its relationship with literature, locating the Victorian salon within intellectual and cultural history.

Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley is the first book to focus upon aspects of performance in the broader context of nineteenth-century British musical culture. In four Parts, '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 and includes articles on performance and individual instruments; orchestral and choral ensembles; church and synagogue music; music societies; cantatas; vocal albums; the middle-class salon, conducting; church music; and piano pedagogy. An introduction explores 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. Fittingly devoted to a significant element in Temperley's research, this book provides scholars of all nineteenth-century musical topics the opportunity to explore the richness of Britain's musical history.

A pioneering work which delves into and reveals the links between music, moral instruction and social reform. This book discusses the role of music in programmes of personal improvement and social reform in nineteenth-century Britain. The pursuit of morality through music was designed not just to improve personal and communal character but to affect social change and transformation. The book examines the musical education of children, women and men through a variety of literature published for various educational settings including mechanics' institutes. It also considers the role of music in narratives of social programs and community-building projects that sought to promote utility, well-being and freedom from the strictures of Christianity as the dominant moral and cultural force. The first book to connect the threads between music, moral instruction and social reform across the educational life cycle in nineteenth-century Britain, it shows how these threads are found in unlikely places, such as games, manners books, economics treatises and short stories. It deftly illustrates the links between everyday life, popular culture and discourses of morality and social reform of the period.

A study of musical salons in Europe and North America between 1760 and 1800 and the salon hostesses who shaped their musical worlds. In eighteenth-century Europe and America, musical salons—and the women who hosted and made music in them—played a crucial role in shaping their cultural environments. Musical salons served as a testing ground for new styles, genres, and aesthetic ideals, and they acted as a mediating force, bringing together professional musicians and their audiences of patrons, listeners, and performers. For the salonnière, the musical salon offered a space between the public and private spheres that allowed her to exercise cultural agency. In this book, musicologist and historical keyboardist Rebecca Cypess offers a broad overview of musical salons between 1760 and 1800, placing the figure of the salonnière at its center. Cypess then presents a series of in-depth case studies that meet the salonnière on her own terms. Women such as Anne-Louise Brillon de Jouy in Paris, Marianna Martines in Vienna, Sara Levy in Berlin, Angelica Kauffman in Rome, and Elizabeth Graeme in Philadelphia come to life in multidimensional ways. Crucially, Cypess uses performance as a tool for research, and her interpretations draw on her experience with the instruments and performance practices used in eighteenth-century salons. In this accessible, interdisciplinary book, Cypess explores women’s agency and authorship, reason and sentiment, and the roles of performing, collecting, listening, and conversing in the formation of eighteenth-century musical life.