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This book takes advantage of new and often surprising biographical
research on the Loder family as a whole and its four main figures,
using them to illustrate aspects of music history in the 19th
century. Musicians of Bath and Beyond: Edward Loder (1809-1865) and
his Family illuminates three areas that have recently attracted
much interest: the musical profession, music in the British
provinces and colonies, and English Romantic opera. The Loder
family was pre-eminent in Bath's musical world in the early
nineteenth century. John David Loder (1788-1846) led the theatre
orchestra there from 1807, and later the Philharmonic orchestra and
Ancient Concerts in London; he also wrote the leading instruction
manual on violin playing and taught violin at the Royal Academy of
Music. His son Edward James (1809-65) was a brilliant but
underrated composer of opera, songs, and piano music. George Loder
(1816-68) was a well-known flautist and conductor who made a name
in New York and eventually settled in Adelaide, where he conducted
the Australian premieres of Les Huguenots, Faust, and other
important operas. Kate Fanny Loder (1825-1904) became a successful
pianist and teacher in early Victorian London, and she is only now
getting her due as a composer. This book takes advantage of new and
often surprising biographical research on the Loder family as a
whole and its four main figures. It uses them to illustrate several
aspects of music history: the position of professional musicians in
Victorian society; music in the provinces, especiallyBath and
Manchester; the Victorian opera libretto; orchestra direction;
violin teaching; travelling musicians in the US and Australasia;
opera singers and companies; and media responses to English opera.
The concluding section isan intense analysis and reassessment of
Edward Loder's music, with special emphasis on his greatest work,
the opera Raymond and Agnes. NICHOLAS TEMPERLEY is Professor
Emeritus of Musicology at the University ofIllinois at
Urbana-Champaign and is a leading authority on Victorian music.
CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz
Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie
Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja
Szuster, Nicholas Temperley
The lute was one of the most important instruments in use in Europe
from late medieval times up to the eighteenth century. Despite its
acknowledged importance, this study is the first ever comprehensive
work on the instrument and its music, apart from performance
studies or bibliographical and reference publications. The book
focuses on the lute's history, but also contains chapters on the
lute in concert, lute song accompaniment, the thearbo, and the lute
in Scotland. Written for the music student, the serious listener,
the player, maker, and lute enthusiast, Spring makes available for
the first time over 40 years of musical scholarship previously the
preserve of academic journals.
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