The Careers of British Musicians, 1750-1850: A Profession of by Deborah Rohr

By Deborah Rohr

The examine of the social context of tune needs to contemplate the day by day reviews of its practitioners. This e-book strains the day-by-day operating lifestyles and aspirations of British musicians throughout the sweeping social and monetary transformation of england from 1750 to 1850. It good points operating musicians of every kind and in any respect levels--organists, singers, instrumentalists, lecturers, composers, and entrepreneurs--and explores their academic heritage, their stipulations of employment, their wages, the structures of patronage that supported them, and their person perceptions.

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By Deborah Rohr

The examine of the social context of tune needs to contemplate the day by day reviews of its practitioners. This e-book strains the day-by-day operating lifestyles and aspirations of British musicians throughout the sweeping social and monetary transformation of england from 1750 to 1850. It good points operating musicians of every kind and in any respect levels--organists, singers, instrumentalists, lecturers, composers, and entrepreneurs--and explores their academic heritage, their stipulations of employment, their wages, the structures of patronage that supported them, and their person perceptions.

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In the absence of early and prodigious talent, a driving interest in music often prevailed, even against parental objections. The organist J. Whitehead Smith (born circa ) discovered his love for music when hearing the Wells Cathedral choristers at practice while he sat in the schoolroom of the grammar school. This led him to ask for music lessons as a young child. ³  The Careers of British Musicians, – A better-known example is the English opera composer, Thomas Arne (–). His father intended him to study law, but Being obliged to conceal his love of music from his father, he privately took lessons from Michael Festing, the violinist, and practised on a spinet with muffled strings.

Musicians were generally literate and highly skilled. ³⁰ The profession included not only elite composers, performers, and concert impresarios who associated with aristocratic patrons, but also performers who sank into the lowest levels of the urban poor. Yet even destitute musicians might have a level of education, skills, cultural experience, and perceptions that clearly distinguished them from others at the same economic level. The variations of status within the profession and throughout this period will be clarified in subsequent chapters.

Carl Friedrich Horn was appointed as music master to the royal princesses in . The composer Joseph Mazzinghi was hired to instruct the Princess of Wales in the late eighteenth century. Later, Queen Victoria employed the singer J. B. Sale, who taught many royal pupils, Lucy Anderson as piano instructor, and Luigi Lablache, the internationally known opera singer, as her singing instructor. In addition to the benefits conferred by actual employment in the royal household, the privilege of playing for the King or Queen, especially as a child ‘‘prodigy,’’ could be helpful in obtaining further patronage.

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