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University of California Riverside UNIVERSITY OF CALIFORNIA RIVERSIDE Reshaping British Concert Life: Tracking the Performance History of Hector Berlioz’s La Damnation de Faust in Nineteenth-Century Britain A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in vi Music by Rachel Howerton September 2019 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Dr. Leonora Saavedra vii Copyright by Rachel Howerton 2019 The Dissertation of Rachel Howerton is approved: Committee Chairperson University of California, Riverside viii ACKNOWLEDGMENTS This dissertation would not have been completed without the generous help and support from the following individuals. First, I would like to thank my advisor, Dr. Byron Adams, and my committee members Dr. Rogerio Budasz, Dr. Walter Clark, and Dr. Leonora Saavedra for their unwavering support and guidance during this process. I am also indebted to Dr. Julian Rushton and Dr. D. Kern Holoman. Both have made have made important contributions to Berlioz scholarship and were incredibly generous and supportive in offering their expertise and assistance towards the completion of this project. In addition I would like to thank Dr. Charles McGuire, Dr. Christina Bashford, and Dr. Rachel Cowgill for their kind assistance and guidance with navigating Victorian iv scholarship, especially in regards to the Tonic Sol-fa Movement and the John Ella Collections at the Bodleian Library in Oxford. Much of this research would not have been possible to complete without the funding of several grants, including: the American Musicology Society M. Elizabeth C. Bartlet Travel Grant; the University of California, Riverside Humanities Graduate Student Research Grant and the Alumni Graduate Research Travel Award; the Gluck Fellowship for the Arts; and the University of California, Riverside Ernest Propes Endowed Graduate Fellowship. The funding from these grants enabled the completion of this dissertation by covering the financial expenses of an extensive three-month research trip to France and Britain in the spring of 2017. I would especially like to thank the archivists, librarians, and staff at the following institutions for their instrumental help in uncovering all of the primary sources that iv enabled the completion of this dissertation: the Bibliothèque nationale de France; the British Library; the Royal College of Music; the Royal Albert Hall Archive; the Royal Academy of Music; the London Metropolitan Archive; Oxford University’s Bodleian Library; the Manchester Central Library; the Hallé Orchestra Archive in Manchester; the Royal Northern College of Music, the Foundling Museum, the National Library of Scotland, The Victorian and Albert Museum; the Royal Opera House Archive; and the University of California Library System and Digital Collections. Several individuals also offered their time and assistance over the course of my research trip to the UK. I am particularly grateful to Michael Mullen and Dr. Peter Horton at the Royal College of Music; Suzanne Keyte from the Royal Albert Hall v Archive; Kathryn Adamson from the Royal Academy of Music; Heather Roberts from the Royal Northern College of Music; Matthew Dunne from the Brotherton Library at the University of Leeds; Vanessa Bond from the Royal Choral Society; Eilís McCarthy from the Royal Opera House Archives; Martin Holmes and from the Bodleian Library; Ros Edwards from the Henry Watson Music Library in Manchester; Eleanor Roberts from the Hallé Concerts Society; as well as Carla Arbagey, Philip Chiu, Caitlin St John, and the entire Interlibrary Loan Staff at the University of California, Riverside. Last, but not least, I would like to thank my family and friends for their continued support throughout the lengthy process of completing this project, especially my fellow Riverside colleagues, Dr. Erica Siegel, Dr. Erica Jones, as well as my sister, Dr. Jaclyn Howerton. v ABSTRACT OF THE DISSERTATION Reshaping British Concert Life: Tracking the Performance History of Hector Berlioz’s La Damnation de Faust in Nineteenth-Century Britain by Rachel Howerton Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2019 Dr. Byron Adams, Chairperson The 1846 première in Paris of Hector Berlioz’s (1803–1869) dramatic choral adaptation of Goethe’s poem La Damnation de Faust was initially deemed a failure. vi Undeterred, two years later Berlioz traveled to London to promote his music to the British public. While initially failing to capture the lasting attention of British audiences, by the end of the century, Faust had transformed from a virtually unknown musical work to a popular standard on British concert programs. Using the performance history of Faust as a case study, this dissertation tracks and contextualizes the work within the transformative shift in musical taste that occurred in Britain between 1848 and 1918. In trying to understand the move of highbrow musical forms into the realm of working-class culture, some scholars have begun addressing the use of music by nineteenth-century governments as a socioeconomic tool for class development; others have begun documenting the amateur choral movement in Victorian Britain. More work is needed, however, on understanding the link between the development of Victorian musical taste vi and the growing socioeconomic changes of class morality and structure through music education as a response to industrialization. In addition to identifying the British première of the work in February 1880 as the catalyst for cementing Berlioz’s permanent place in the British orchestral repertoire, this study also discusses the orchestral training and audience development required for this first performance to occur as well as the transformative effect that it had on British concert life, particularly at the regional triennial musical festivals. Furthermore, this study explores the transition of Faust from the concert hall to popular seaside resorts and how this development laid the foundation for the even greater interest in Berlioz’s music in the mid-twentieth century. By applying current theoretical discussions on the topics of vii British performance history, historiography, and transnational identity to data that was obtained through archival investigation, this research contributes towards a greater understanding of the cultural development in musical taste that occurred in late nineteenth-century Britain as well as the use of music as a philanthropic and socioeconomic tool in transnational contexts. vii Table of Contents Introduction....................................................................................................................... 1 Chapter 1 – Sir Charles Hallé and his role in bringing La Damnation de Faust to Britain: 1848-1880......................................................................................................................... 29 Chapter 2 – Sir Charles Hallé and his role in bringing La Damnation de Faust to Britain: 1880-1895......................................................................................................................... 62 Chapter 3 – August Manns and La Damnation de Faust in Sydenham and Scotland, 1855-1900......................................................................................................................... 97 Chapter 4 – Bringing Berlioz to the People: La Damnation de Faust and the British Triennial Choral Festival, 1870–1918............................................................................ 134 viii Chapter 5 – Berlioz at the Turn of the Century: La Damnation de Faust as a Repertoire Standard for British Choral Societies and Orchestras, 1880-1918................................. 186 Chapter 6 – From the Unplayable to an Annual Standard: La Damnation de Faust as an Instrumental Favorite on Popular Concerts in London and at the Seaside Resorts, 1890- 1918................................................................................................................................. 224 Conclusion..................................................................................................................... 263 Appendix – Performances of La Damnation de Faust in Britain, 1848-1918............... 271 Bibliography.................................................................................................................. 377 viii List of Tables Chapter 1 Table 1.1: Select List of Berlioz conducted by Hallé, 1855-81........................................ 57 Table 1.2: Performances of selections and complete performances of La Damnation de Faust conducted by Hallé, 1856-1880.............................................................................. 59 Table 1.3: Complete list of performances of Berlioz’s works given by Hallé, 1848 - January 1880..................................................................................................................... 60 Chapter 2 Table 2.1: Total Statistics of La Damnation de Faust Performances in Britain, 1848- 1918....................................................................................................................................82 ix Table 2.2: Attendance Record of Select Choral Concerts given by Charles Hallé and the Hallé Orchestra in Manchester, 1880-1894...................................................................... 85 Table 2.3: Performances of selections and complete performances of La Damnation de Faust conducted by Hallé, 1880-1894.............................................................................
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