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The importance of nineteenth-century writing about culture has long
been accepted by scholars, yet so far as music criticism is
concerned, Victorian England has been an area of scholarly neglect.
This state of affairs is all the more surprising given that the
quantity of such criticism in the Victorian and Edwardian press was
vast, much of it displaying a richness and diversity of critical
perspectives. Through the study of music criticism from several key
newspapers and journals (specifically The Times, Daily Telegraph,
Athenaeum and The Musical Times), this book examines the reception
history of new English music in the period surveyed and assesses
its cultural, social and political, importance. Music critics
projected and promoted English composers to create a national music
of which England could be proud. J A Fuller Maitland, critic on The
Times, described music journalists as 'watchmen on the walls of
music', and Meirion Hughes extends this metaphor to explore their
crucial role in building and safeguarding what came to be known as
the English Musical Renaissance. Part One of the book looks at the
critics in the context of the publications for which they worked,
while Part Two focuses on the relationship between the
watchmen-critics and three composers: Arthur Sullivan, Hubert Parry
and Edward Elgar. Hughes argues that the English Musical
Renaissance was ultimately a success thanks largely to the work of
the critics. In so doing, he provides a major re-evaluation of the
impact of journalism on British music history.
Second edition of a book which caused huge controversy in its first
printing - now completely revised and updated. Argues that research
into the cultural history of music can significantly help our
understanding of the evolution of English national identity. Only
book of its kind to cover such a revolutionary period in British
music. Looks at how music reflected the privileged elite, ignoring
the vast majority of 'music lovers', and was crucial in the
construction of a British national identity. The second edition
features a new and expanded introduction, a new chapter on
Mendelssohn's Elijah - and the complete text has also been updated
and revised. -- .
The importance of nineteenth-century writing about culture has long
been accepted by scholars, yet so far as music criticism is
concerned, Victorian England has been an area of scholarly neglect.
This state of affairs is all the more surprising given that the
quantity of such criticism in the Victorian and Edwardian press was
vast, much of it displaying a richness and diversity of critical
perspectives. Through the study of music criticism from several key
newspapers and journals (specifically The Times, Daily Telegraph,
Athenaeum and The Musical Times), this book examines the reception
history of new English music in the period surveyed and assesses
its cultural, social and political, importance. Music critics
projected and promoted English composers to create a national music
of which England could be proud. J A Fuller Maitland, critic on The
Times, described music journalists as 'watchmen on the walls of
music', and Meirion Hughes extends this metaphor to explore their
crucial role in building and safeguarding what came to be known as
the English Musical Renaissance. Part One of the book looks at the
critics in the context of the publications for which they worked,
while Part Two focuses on the relationship between the
watchmen-critics and three composers: Arthur Sullivan, Hubert Parry
and Edward Elgar. Hughes argues that the English Musical
Renaissance was ultimately a success thanks largely to the work of
the critics. In so doing, he provides a major re-evaluation of the
impact of journalism on British music history.
Passionate and pioneering, Liszt's biography of Chopin flaunts its
author's celebrity while straddling the divide between the
scholarly and the popular. In this volume Meirion Hughes combines a
new translation of the first edition with an introduction that
places the work in its cultural and political context. In his
introduction Hughes explores the complex relationship between the
two composers, the highly charged political context in which the
book was written, and the discourse of cultural nationalism and
progressivism that dominates content. He argues that Chopin (put in
italics) was more than a tribute to an erstwhile friend, but rather
a polemic of national music rooted in the politics of that 'year of
revolutions', 1848-9. Hughes remains faithful to the original while
putting clarity before strict adherence to what is, by general
agreement, a quirky text. Controversial in its approach, Liszt's
'Chopin' challenges the long-held view of the memoir is as
lightweight, inaccurate portrait of its subject, but rather as one
of the most important and daring musical biographies of the
nineteenth century. -- .
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