Notes

Introduction

1 Alan Hamilton, "Gratitude, respect and pride," The Times (5 june 2002): 1. 2 See Charlotte Bronte's Shirley (1849); Charles Dickens's Barnaby Rudge (1841) and A Tale of Two Cities (1859); Benjamin Disraeli's Coningsby (1844) and Sybil (1845); George Eliot's Felix Holt, The Radical (1866). 3 Peter Walton, A Celebration of Empire: A Centenary Souvenir of the Diamond Jubilee of Queen Victoria 1837-1897 (Staplehurst: Spellmont, 1997) 19. 4 Raymond Whitaker, "Royal Pageant," Independent (5 June 2002): 5. 5 Francis Hueffer, Half a Century of Music in England, 1837-1887 (London: Chapman, 1889) 1. 6 Susan Bernstein, "On Music Framed: The Eolian Harp in Romantic Writing," The Figure of Music in Nineteenth-Century British Poetry, ed. Phyllis Weliver (Aldershot: Ashgate, 2005) 71. 7 Bernstein, "On Music Framed," 73. 8 For the "truism ... of Victorian labour history that the years which bridged the late Chartist movement and early socialism witnessed a fundamental discontinuity in the political development of the English working class" see Margot C. Finn, After Chartism: Class and nation in English radical politics, 1848-1874 (Cambridge: Cambridge University Press, 1993) 1. 9 Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993) 44-7. 10 Seyla Benhabib, "The Pariah and Her Shadow: Hanna Arendt's Biography of Rabel Varnhagen," Feminist Interpretations ofHanna Arendt, ed. Bonnie Honig (University Park: Pennsylvania State University Press, 1995) 94. 11 Benhabib, "Pariah," 97-8. 12 Benhabib, "Pariah," 98-9. 13 Benhabib, "Pariah," 101. 14 Seyla Benhabib, Situating the Self: Gender, community and postmodernism in con­ temporary ethics (New York: Routledge, 1992) 93. 15 Benhabib, "Pariah," 83-104; Hina Nazar, "The Imagination Goes Visiting: Jane Austen, Judgment, and the Social," Nineteenth-Century Literature, 59.2 (September 2004): 145-78. 16 Denise Riley, "Am I that Name?" Feminism and the category of"women" in his- tory (Minneapolis: University of Minnesota Press, 1988) 49. 17 Riley, "Am I that Name?" 50. 18 Riley, "Am I that Name?" 49. 19 Riley, "Am I that Name?" 51. 20 Christina Bashford, "Learning to Listen: Audiences for chamber music in early-Victorian London," Journal of Victorian Culture 4 (1999): 29-30, 34-5. 21 Anon., "A Concert," The Cornhill Magazine 1st ser. 5 (1862): 744-5; George Bernard Shaw, "High Society," Star (6 December 1889), rpt in G.B.S. on Music by George Bernard Shaw (Harmondsworth: Penguin, 1962) 59-60.

190 Notes 191

22 George Eliot, Daniel Deronda (1876), Cabinet edn., 3 vols (Edinburgh: Black­ wood, 1878) 3: 17. 23 Anthony Giddens, The Consequences ofModernity (Stanford: Stanford Univer­ sity Press, 1990) 1. 24 Giddens, Consequences, 1. 25 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread ofNationalism (1983), rev. edn. (London: Verso, 1991) 7. 26 John Plotz, The Crowd: British Literature and Public Politics (Berkeley: Univer­ sity of California Press, 2000) 118. 27 Leonore Davidoff and Catherine Hall, Family Fortunes: Men and Women of the English Middle Class, 1780-1850 (London: Hutchinson, 1987) 156. 28 Giddens, Consequences, 7. Original emphasis. 29 Giddens, Consequences, 7-9. 30 For metanarrative (master narrative), seeJean-Fran~ois Lyotard, The Postmodem Condition: A report on knowledge (1979), trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1984) xxiii-xxv. 31 Michel Foucault, Discipline and Punish: The Birth of the Prison (1975), trans. Alan Sheridan (New York: Vintage, 1995). 32 Niklas Luhmann, Observations on Modernity (1992), trans. William Whobrey (Stanford: Stanford University Press, 1998) 7; Luhmann, "I See Something You Don't See," trans. Joseph O'Neil and Elliott Schreiber, Theories ofDistinction: Redescribing the Descriptions ofModernity, ed. William Rasch (Stanford: Stanford University Press, 2002) 189. 33 Luhmann, Observations, 19. 34 Jiirgen Haberrnas, "The Public Sphere," New German Critique 3 (1974): 49. Cited in Geoff Eley, "Nations, Publics, and Political Cultures: Placing Habermas in the Nineteenth Century," Habermas and the Public Sphere, ed. Craig Calhoun (Cambridge, Massachusetts: MIT Press, 1992) 290. 35 Gunther Lottes, Politische Aufkliirung und plebejisches Publikum: Zur Theorie und Praxis des englischen Radikalismus in spiiten 18, Jahrhundred (Munich, 1979) 337, referenced in Eley, "Nations," 328-9. 36 Davidoff and Hall, Family Fortunes, 419. 37 John Brewer, "Commercialization and politics," The Birth ofa Consumer Sodety: The Commerdalization of Eighteenth-Century England, eds Neil McKendrick, John Brewer andJ.H. Plumb (1982; London: Hutchinson, 1983) 219. Brewer's sources are the Northampton Mercury (11 September 1732) and A Collection of Freemason's Songs (London, 1904) 30-2. 38 Plotz, Crowd, 10. 39 Eley, "Nations," 326. 40 Benhabib, Situating, 108-09. 41 Plotz, Crowd, 10. 42 Plotz, Crowd, 41-2. 43 Eley, "Nations," 291. 44 Emma Sutton, Aubrey Beardsley and British Wagnerism in the 1890s (Oxford: Oxford University Press, 2002) 101. 45 Christina Bashford, "Not Just 'G.': Towards a History ofthe Programme Note," George Grove, Music and Victorian Culture, ed. Michael Musgrave (Basingstoke: Palgrave Macmillan, 2003) 133; Catherine Dale, Music Analysis in Britain in the Nineteenth Century (Aldershot: Ashgate, 2002) 48. 192 Notes

46 Bashford, "G," 135 n8. 47 Bashford, "G," 117, 124-5. 48 Christina Bashford, "Listen," 25. 49 Cyril Ehrlich, The Music Profession in Britain since the Eighteenth Century: A Sodal History (Oxford: Clarendon, 1985) 51. 50 Cyril Ehrlich, The Piano: A History (London: Dent, 1976) 94. 51 Bashford, "Listen," 36, 41. 52 Anon., "English Audiences," Musical Times 26 (1 September 1885): 526, 527 [hereafter MT]. 53 J.S. Curwen, editorials, The Musical Herald 571 (October 1895): 304. My thanks to Charles McGuire for this dtation. 54 For a discussion of working-class culture as continuing after 1850, but being "flattened out" or losing its spirit, see Frands Hearn, Domination, Legitimation, and Resistance: The incorporation of the nineteenth-century English working class (Westport: Greenwood, 1978) 231-65. For upper-class conversation about the music during the interval, see Bashford, "Listen," 35-6; Bashford, "John Ella and the Making ofthe Musical Union," Music and British Culture, 1785-1914: Essays in honour of Cyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 209. 55 Morning Chronicle (28 January 1847), dted in Bashford, "Listen," 35. 56 Bashford, "Listen," 30. 57 The "two nations" are further subdivided in Sybil into competing factions. There are two types of laboring people depicted: the rational who attempt to strike peacefully and those described in bestial terms who engage in unthink­ ing mob violence. See Benjamin Disraeli, Sybil: or The 1Wo Nations (1845; London: Penguin, 1980). 58 Anon., "Sims Reeves, the encore nuisance and audience behaviour at a ballad concert in Liverpool," MT 17 (1 July 1875): 137. See also Anon., "Audience behavior at Sims Reeves' ballad concert, Oxford," MT 13 (1 January 1869): 639; Anon., Letter, The Tonic Sol-fa Reporter Oanuary 1865): 4; "Haslingden Mechanics' Institution," Blackburn Standard (10 January 1847), rpt in C. Aspin, Haslingden 1800-1900 (Haslingden: n.p., 1962) 169-70. 59 Dave Russell, Popular Music in England, 1840-1914: A Social History (Manchester: Manchester University Press, 1987) 17, 22-4. "Sight-singing mania" appears to be Russell's own term (22). 60 Russell, Popular Music, 24. 61 In fixed doh, the syllable "doh" always designates the note "c" while in move­ able doh, "doh" is given to the tonic or first note of the scale. Therefore, in the key of C Major or c minor, "doh" would be "c," but in A major or a minor, "doh" would be "a," in D Major or d minor, "doh" would be "d," etc. 62 J.S. Curwen, Music at the Queen's Accession: A paper read before the Society of Arts, March 17th, 1897 (London: Curwen, 1897) 15. 63 Russell, Popular Music, 26. 64 David Vincent, Literacy and Popular Culture: England 1750-1914 (Cambridge: Cambridge University Press, 1989) 282-3. Referenced in Helen Small, "A Pulse of 124: Charles Dickens and a pathology of the mid-Victorian reading public," The Practice and Representation ofReading in England, eds James Raven, Helen Small and Naomi Tadmor (Cambridge: Cambridge University Press, 1996) 273-4. Notes 193

65 J.S. Curwen, The Story ofTonic Sol-fa, lOth edn. (London: J. Curwen and Sons, [1891]) 3. 66 J.S. Curwen, Story, 4. 67 J.S. Curwen, Story, 5, 8, 10, 22. 68 J.S. Curwen, Story, 8. 69 Charles McGuire, "Music and Morality: Temperance, Tonic Sol-Fa and Elgar's The Dream of Gerontius," Chorus and Community, ed. Karen Ahlquist (Urbana: University of Illinois Press, 2006). 70 W.H. Cummings' comments on W.G. McNaught "The Psychology of Sight­ Singing," Proceedings ofthe Musical Association 26 (1899-1900): 52. My thanks to Charles McGuire for this citation. 71 William Weber, Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna (London: Croom Helm, 1975) 25-6. 72 William Weber, "Did People Listen in the 18th Century?" Early Music 25 (1997): 689. 73 Alison Winter, Mesmerized: Powers of Mind in Victorian Britain (Chicago: University of Chicago Press, 1998) 329. 74 Athena Vrettos, Somatic Fictions: Imagining fllness in Victorian Culture (Stanford: Stanford University Press, 1995) 96--7. 75 Winter, Mesmerized, 320-2. 76 Small, "Pulse," 269-75. 77 Ada Nield Chew, "A Living Wage for Factory Girls at Crewe," Crewe Chronicle (5 May 1894) n.p. Rpt in The Life and Writings ofAda Nield Chew, remembered and collected by Doris Nield Chew (1945; London: Virago, 1982) 75-6. 78 Wilkie Collins, "The Unknown Public," Household Words 18 (August 21, 1858) 217. I am indebted to Helen Small's "A Pulse of 124" for this source. 79 Collins, "Unknown," 222. 80 Small, "Pulse," 278. 81 The Athena!Um (20 August 1853): 996. 82 Samuel Taylor Coleridge, The Statesman's Manual: or The Bible the Best Guide to Political Skill and Foresight, A Lay Sermon, Addressed to the Higher Classes ofSociety (1816), rpt in The Collected Works of Samuel Taylor Coleridge, VI, Lay Sermons, ed. R.J. White (London: Routledge and Kegan Paul, 1972) 36--7. I am grateful to Helen Small's essay, "A Pulse of 124," for this source. 83 Benhabib, Situating, 89-100. 84 Plotz, Crowd, 7. 85 Leanne Langley, "Music," Victorian Periodicals and Victorian Society, eds J. Don Vann and RosemaryT. Van Arsdel (Aldershot: Scolar, 1994): 101, 123; Meirion Hughes, The English Musical Renaissance and the Press 1850-1914: Watchmen of Music (Aldershot: Ashgate, 2002) 88. PMA later became the Proceedings of the Royal Musical Association. 86 Jtirgen Habermas, The Structural Transformation of the Public Sphere (1962), trans. Thomas Burger (Cambridge: Polity, 1989) 182. 87 Ludwig Wittgenstein, Culture and Value (1977), ed. G.H. von Wright with Heikki Nyman, trans. Peter Winch (Chicago: University of Chicago Press, 1980) 4-5. I follow Plotz in going to this source to define aesthetic versus nonaes­ thetic events. 88 See Robert Schumann, Schumann on Music: A selection from the writings, trans. and ed. Henry Pleasants (New York: Dover, 1988). 194 Notes

89 Richard Wagner, "Une visite a Beethoven: episode de la vie d'un musicien allemand," Revue et Gazette Musicale de Paris (19, 22, 29 November and 3 December 1840) and "Une soiree heureuse: Fantaisie sur la musique pittoresque," Gazette Musicale (24 October and 7 November 1841). Translated and reprinted in Wagner, Pilgrimage to Beethoven and Other Essays, rpt of In Paris and Dresden, vol. 7 of Richard Wagner's Prose Works, trans. William Ashton Ellis (London: Kegan Paul, 1898; Lincoln: University of Nebraska Press, 1994) 21-45; 70-81. 90 I am indebted to a conversation with Meirion Hughes for this information. See Charles Reid, The Music Monster: A Biography of fames William Davison, Music Critic of The Times of London, 1846-78 (London: Quartet, 1984) 97-9, 215-17. 91 Hughes, Watchmen, 14, 19. 92 Plotz, Crowd, 125. 93 For "the idea of music" see Alastair Williams, Constructing Musicology (Aldershot: Ashgate, 2001) 3, 24, 32, 56. 94 For the idea of music as measuring a range of Victorian responses to sensibil­ ity, I would like to acknowledge a conversation with Jenny Bourne Taylor. 95 For instance, see Matthew Riley, "Rustling Reeds and Lofty Pines: Elgar and the Music of Nature," 19th Century Music 26.2 (2002): 155-77. 96 Matthew Arnold, On the Study of Celtic Literature (1866), rpt in The Complete Prose Works of Matthew Arnold, ed. R.H. Super (Ann Arbor: University of Michigan Press, 1962) 3: 341. Original emphasis. 97 Joseph Bennett, "The Influence of Handel on Music in England," MT 18 Guly 1877): 322. I am grateful to Brookes Kuykendall for this reference. 98 Jeremy Dibble, C. Hubert H. Parry: His Life and Music (Oxford: Clarendon, 1992) 109, 166. 99 R. Vaughan Williams, "A Musical Autobiography," National Music and Other Essays, 2nd edn. (Oxford, 1987) 183, cited by Jeremy Dibble in C. Hubert H. Parry: His Life and Music (Oxford: Clarendon, 1992) 284. For settings of Arnold's poetry, see Oliver Neighbour, "The place of the Eighth among Vaughan Williams's symphonies," Vaughan Williams Studies, ed. Alain Frogley (Cam­ bridge: Cambridge University Press, 1996) 216-20, 227n.

1 Surveillance and Musical Passion in Villette

1 Sally Shuttleworth, Charlotte Bronte and Victorian Psychology (Cambridge: Cambridge University Press, 1996) 245. 2 M.J. Cullen, The Statistical Movement in Early Victorian Britain: The Foundations ofEmpirical Social Research (Hassocks: Harvester, 1975) 12-13, 65, 69, 77. 3 Mary Poovey, Making a Social Body: British Cultural Formation, 1830-1864 (Chicago: University of Chicago Press, 1995) 9, 88-9; Cullen, Statistical Movement, 65, 135. 4 Theodore M. Porter, The Rise of Statistical Thinking 1820-1900 (Princeton: Princeton University Press, 1986) 3. 5 Poovey, Making a Social Body, 89. 6 Ernest Albee, A History ofEnglish Utilitarianism (rpt of London: Sonnenschein, 1902; Bristol: Thoemmes, 1990) 179. Notes 195

7 F.R. Leavis, introduction, Mill on Bentham and Coleridge by J .S. Mill, ed. F.R. Leavis (1950; Cambridge: Cambridge University Press, 1980) 31-2; Raymond Williams, Culture and Sodety, 1780-1950 (London: Chatto, 1958) 57. 8 Kathryn Gleadle, The Early Feminists: Radical Unitarians and the Emergence of the Women's Rights Movement, 1831-51 (New York: StMartin's- now Palgrave Macmillan, 1995) 4, 14-15. 9 William Hazlitt, The Spirit of the Age: Or Contemporary Portraits, 2nd edn. (London: Colburn, 1825) 10. 10 John Stuart Mill, "Bentham" (1838), Mill on Bentham and Coleridge, ed. F.R. Leavis (London: Chatto, 1968) 61. 11 Michael Levin, The Condition of England QJ,testion: Carlyle, Mill, Engels (Basingstoke: Macmillan - now Palgrave Macmillan, 1998) 77. 12 John Stuart Mill, Autobiography (1873), ed.John M. Robson (London: Penguin, 1989) 61, 63. 13 Mill, Autobiography, 118. 14 Thomas Carlyle, Sartor Resartus (1833-1834), eds Kerry McSweeney and Peter Sabor (Oxford: Oxford University Press, 1987) 179. 15 Thomas Carlyle to J .S. Mill, 20 January 1834, Letters of Thomas Carlyle to John Stuart Mill, John Sterling and Robert Browning, ed. Alexander Carlyle (London: Unwin, 1923) 94. 16 John Whale, Imagination Under Pressure, 1789-1832: Aesthetics, Politics and Utility (Cambridge: Cambridge University Press, 2000) 108. 17 Hazlitt, Spirit of the Age, 19-20. Original emphasis. 18 Hazlitt, Spirit of the Age, 19. 19 Mill, Autobiography, 62. 20 Imagination, in this sense, is seen in terms of its transcendent qualities. Whale, Imagination Under Pressure, 5. 21 Jenny Bourne Taylor, In the Secret Theatre of Home: Wilkie Collins, sensation narrative, and nineteenth-century psychology (London: Routledge, 1988) 31. 22 Moral management was a humanitarian system of treating the mentally ill which used the principle of non-restraint and was the foundation for psy­ chological medicine in the nineteenth century. Jenny Bourne Taylor and Sally Shuttleworth, eds, Embodied Selves: An Anthology of Psychological Texts, 1830-1890 (Oxford: Clarendon, 1998) 227-30. 23 See Taylor and Shuttleworth, Embodied Selves, 228-9. 24 Catherine Gallagher, The Industrial Reformation of English Fiction: Social Discourse and Narrative Form 1832-1867 (Chicago: Chicago University Press, 1985) 188-200. 25 Charles Dickens, Hard Times (1854; London: Penguin, 1969) 55. Further page references appear in parentheses. 26 Cullen, Statistical Movement, 65-72; Poovey, Making a Social Body, 89. 27 Jeremy Bentham, Fragment on Government (177 6), eds J .H. Burns and H. L.A. Hart (Cambridge University Press, 1988) 114. 28 Whale, Imagination Under Pressure, 103. 29 Gallagher, Industrial Reformation ofEnglish Fiction, 160. 30 Gallagher, Industrial Reformation of English Fiction, 160-1. 31 Gallagher, Industrial Reformation of English Fiction, 162. 32 Gallagher, Industrial Reformation ofEnglish Fiction, 198. 33 Jeremy Bentham, The Rationale ofReward (London: John and Hunt, 1825) 206. 196 Notes

34 Bentham, Rationale ofReward, 207. 35 Benjamin Disraeli, Vindication of the English Constitution (London: Saunders and Otley, 1835) 11. 36 K.j. Fielding, "Benthamite Utilitarianism and Oliver Twist: A Novel of Ideas," Dickens Qjiarterly 4 (1987): 59. 37 Helen Small, "A Pulse of 124: Charles Dickens and a pathology of the mid­ Victorian reading public," The Practice and Representation ofReading in England, eds james Raven, Helen Small and Naomi Tadmor (Cambridge: Cambridge University Press, 1996) 268. 38 David Barry, medical report, Factories Commission, 2nd report PP 1833, vol. XXI, A3, p. 53. Excerpt rpt in E. Royston Pike, Human Documents of the Industrial Revolution in Britain (London: Allen and Unwin, 1966) 66. 39 Shuttleworth and Taylor, Embodied Selves, 228; Shuttleworth, Charlotte Bronte, 4. 40 jennifer L. Hall-Witt, "Representing the Audience in the Age of Reform: Critics and the Elite at the Italian Opera in London," Music and British Culture, 1785-1914: Essays in honour of Cyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 135-6. 41 William Weber, Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna (London: Croom Helm, 1975) 25-6. 42 Shuttleworth, Charlotte Bronte, 241. 43 Heather Glen, "Shirley and Villette," The Cambridge Companion to The Brontes, ed. Heather Glen (Cambridge: Cambridge University Press, 2002) 143, 144. 44 Terry Eagleton, Myths ofPower: A Marxist Study of the Brontes (1975), 2nd edn. (London: Macmillan, 1988) 63; Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979) 404; Andrew D. Hook, "Charlotte Bronte, the Imagination, and Villette," The Brontes: A Collection of Critical Essays, ed. Ian Gregor (Eaglewood Cliffs, N.j.: Prentice-Hall, 1970) 145; Q.D. Leavis, introduction, Villette by Charlotte Bronte (New York: Harper Colophon, 1972) xxvi. 45 Mary jacobus, "The Buried Letter: Feminism and Romanticism in Villette," Women Writing and Writing about Women, ed. Mary jacobus (London: Croom Helm, 1979) 47; Terry Lovell, "Gender and Englishness in Villette," Political Gender: Texts and Contexts, eds Sally Ledger, josephine McDonagh, and jane Spencer (New York: Harvester, 1994) 49. 46 Charlotte Bronte, Villette (1853; London: Penguin, 1979) 283. Further page references appear in parentheses. 47 Phyllis Weliver, Women Musicians in Victorian Fiction, 1860-1900: Represen­ tations of music, science and gender in the leisured home (Aldershot: Ashgate, 2000) 31-8. 48 Tony Tanner, introduction, Villette by Charlotte Bronte, ed. Mark Lilly (London: Penguin, 1979) 13. 49 Lovell, "Gender and Englishness," 47-8. 50 Lovell, "Gender and Englishness," 48. 51 james Parakilas, review of Listening in Paris in The Journal of Modem History 68.1 (1996): 194. 52 Christina Bashford, "Learning to Listen: Audiences for chamber music in early-Victorian London," Journal of Victorian Culture 4 (1999): 27, 50; Hall-Witt, "Representing the Audience," 121-44. Notes 197

53 William Weber, "Did People Listen in the 18th Century?" Early Music 25 (1997): 681-3. 54 Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993) 3-4, 62. 55 Parakilas, review, 194. 56 Tanner, introduction, 34. 57 Helen Small, Love's Madness: Medicine, the Novel, and Female Insanity, 1800-1865 (Oxford: Clarendon, 1996) 63. 58 Small, Love's Madness, 155, 106. 59 Charlotte Bronte, letter to Margaret Wooler, 31 March 1848, in Elizabeth Gaskell, The Life of Charlotte Bronte (1857; London: Dent, 1908) 244. 60 Eagleton similarly suggests Dr John's emotional shallowness because he speedily recovers from Ginevra. Eagleton, Myths ofPower, 71. 61 Gilbert and Gubar, Madwoman, 424. The two authors identify Vashti as belonging to the Book of Esther, 1:1 to 2:18 (683 n21). 62 John Stokes, "Rachel's 'Terrible Beauty': An Actress Moving Among the Novelists," EHL 51.4 (1984): 771-93. 63 While it is not in the scope of my argument to investigate museums, Lucy's travels through public spaces include a trip to a crowded museum, too. 64 Edgar Berillon, "Hypnotisme utile et hypnotisme dangereaux," Revue de l'hypnotisme 3 (1888) 2. Cited in Ruth Harris, Murders and Madness: Medicine, Law, and Society in the Fin de Siixle (Oxford: Clarendon, 1989) 197. 65 Hook, "Charlotte Bronte," 142. 66 Hook, "Charlotte Bronte," 155. 67 Thomas De Quincey, Confessions ofan English Opium-Eater (1821), ed. Alethea Hayter (London: Penguin, 1971) 78-9. 68 De Quincey, Confessions, 48. 69 John Plotz, The Crowd: British Literature and Public Politics (Berkeley: University of California Press, 2000) 81-2. 70 Shuttleworth, Charlotte Bronte, 247. 71 F.R. Leavis, introduction, Mill on Bentham and Coleridge, 1-38; Williams, Culture and Society, 49-70.

2 Germanic Music Ideals in Utopian Communities: Charles Auchester, Erewhon and "Euphonia"

1 Benjamin Disraeli, Sybil: or The Two Nations (1845; London: Penguin, 1980) 228. Further page references appear in parentheses. 2 Jessie A. Middleton, introduction, Charles Auchester: A Memorial by Elizabeth Sara Sheppard (1853; London: Dent, 1911) vii-xii. 3 Benjamin Disraeli, Lord George Bentinck: A Political Biography (London: Colburn, 1852) 492. 4 Charles Horsley was an English composer heavily influenced by Mendelssohn. Nicholas Temperley, The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 2nd edn. (London: Macmillan, 2001) 11: 740; Eric Werner, Mendelssohn: A New Image of the Composer and His Age (London: Free Press of Glencoe, 1963) 194. 5 Beginning in 1819, Zeiter instructed Fanny and Felix Mendelssohn at the Berlin Singakademie. The school was oriented toward eighteenth-century 198 Notes

sacred choral music, especially Bach, just like the fictional Cecilia. R. Larry Todd, Mendelssohn: A Life in Music (Oxford: Oxford University Press, 2003) 11, 44-6; the entry for Felix Mendelssohn by Todd, New Grove, 16: 390. However, while Sheppard represents Charles Auchester as a pupil of Aronach/Zelter, Charles Horsley did not study with Zeiter but with German violinist and composer Moritz Hauptmann in Kassel. 6 Starwood is represented as a gifted pianist living and studying with Seraphael, but William Stern dale Bennett was one of the foremost English composers of the day, while also being friends with Mendelssohn and Schumann. Temperley, New Grove, 2nd edn., 3: 281--6. 7 Sigismund Thalberg was a showy display pianist whose compositions were generally considered second-rate. As the leader of the school of Cecilia before Seraphael, Milans-Andre practices a system "against Bach" (214). In the novel, the system of virtuoso playing is hilariously represented in Milans-Andre's opera, Emancipation; or, the Modem Orpheus, in which the virtuoso violinist Niccolo Paganini plays the part of a "monstrous fiddle-player" (214). 8 Mendelssohn founded the Leipzig Konservatorium (1843), although Berlioz was not among the faculty, and neither Maria Malibran nor Charles Horsley were students. (Horsley's Leipzig stay was from 1841 to 1843, after his education in Kassel.) Werner, Mendelssohn, 385-7. There was no actual romance between Mendelssohn and Malibran, but Werner acknowledges the composer's enthusi­ astic admiration and probable flirtation with the singer during the height of her career in the late 1820s and early 1830s. Werner, Mendelssohn, 145--6, 238, 435. Sheppard appears to have fictionalized the difference in Mendelssohn's and Berlioz's musical styles as a romantic rivalry. For Mendelssohn's and Berlioz's dif­ ferent styles, see Werner, Mendelssohn, 170, 503, 514. 9 While Mendelssohn .was married to Cecile Jeanrenaud, his relationship with Jenny Lind was commonly perceived to be mutually admiring, deeply empa­ thetic, and having romantic potential, although it was never consummated. Mendelssohn wrote the soprano part of Elijah for Jenny Lind, who performed it in London after the composer's death (1848). Werner, Mendelssohn, 435-7, 444-5,475. 10 The Critic. Cited by the publishers, Black & Hurst, in an advertisement for Charles Auchester in The Athenreum (October 8, 1853) 1182. 11 Britannia. Cited by the publishers, Black & Hurst, in an advertisement for Charles Auchester in The Athenceum (October 1, 1853) 1171. 12 The title literally means "The Return from Abroad," but Chorley translated it into English in 1850 as Son and Stranger. I am grateful to Clive Brown for this reference and for suggesting that if Sheppard was aware of the private per­ formance of Mendelssohn's operetta before it was published posthumously in 1850, then the novel shows just how much knowledge was available in London non-professional musical circles about Mendelssohn's private life. Of course, as Charles Auchester was not published until 1853 and the perform­ ance of the fairy operetta does not occur until late in the book, it may be that Sheppard learned about the private performance of Heimkehr aus der Fremde from Chorley's preface to the published edition of 1850 and simply included it in her novel at that late date. She did not revise the novel, so it could not have been added retrospectively. For the revision process, see Harriet E. Prescott, "Elizabeth Sara Sheppard," Atlantic Monthly 10 (October 1862): 499. Notes 199

13 Elizabeth Sara Sheppard, Charles Auchester: A Memorial (1853; London: Dent, 1911) 261. Further page references appear in parentheses. 14 For Mendelssohn's England visit, the Liederspiel, and the Birmingham Festival, see Todd, Mendelssohn, 203-22, 357-8; Todd, New Grove, 16: 389-424. 15 Henry Chorley, review of Charles Auchester, The Athenreum (12 November 1853) 1352. For Chorley's friendship with Mendelssohn, see Robert Terrell Bledsoe, Henry Fothergill Chorley: Victorian Journalist (Aldershot: Ashgate, 1998) 92-111. 16 Shaw, The Star (23 February 1889). Cited in Meirion Hughes, The English Musical Renaissance and the Press 1850-1914: Watchmen ofMusic (Aldershot: Ashgate, 2002) 5. 17 For discussions of inaccurate portraits of Charles and Sophy Horsley in the novel, see Rosamund Brunei Gotch, "Prologue," Mendelssohn and his Friends in Kensington: Letters from Fanny and Sophy Horsley written 1833-36 (London: Oxford University Press, 1934) 5. 18 Jennifer L. Hall-Witt, "Representing the Audience in the Age of Reform: Critics and the Elite at the Italian Opera in London, Music and British Culture, 1785-1914: Essays in honour ofCyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 137. Hall-Witt derives her idea of "event" from Carl Dahlhous, Nineteenth-Century Music, trans.J. Bradford Robinson (Berkeley: University of California Press, 1989) 9; Lydia Goehr, Imaginary Museum ofMusical Works: An essay in the philosophy ofmusic (Oxford: Oxford University Press, 1992) 100-01, 113, 118, 121, 222. 19 Court Journal (8 May 1830) n.p. Cited in Hall-Witt, "Representing the Audi- ence," 140. 20 Hall-Witt, "Representing the Audience," 137-41. 21 Hall-Witt, "Representing the Audience," 127, 130. 22 Christina Bashford, "John Ella and the Making of the Musical Union," Music and British Culture, 1785-1914, eds Bashford and Langley, 194. 23 Sophie Fuller, "'Cribbed, cabin'd, and confined': Female musical creativity in Victorian fiction," The Idea ofMusic in Victorian Fiction, eds Nicky Losseff and Sophie Fuller (Aldershot: Ashgate, 2004) 28-30. 24 Ian Graham-Jones, "Alice Mary Smith: A Forgotten Victorian Symphonist," 4th Biennial International Conference on Music in Nineteenth-Century Britain, University of Leeds, UK, 25 July 2003. 25 William Leonhard Gage, editor's preface, Life ofFelix Mendelssohn Bartholdy by Wilhelm Adolf Lampadius, ed. and trans. William Leonhard Gage (London: William Reeves, 1876) vi. 26 Wilhelm Adolf Lampadius, Life of Felix Mendelssohn Bartholdy, ed. and trans. William Leonhard Gage (London: William Reeves, 1876) 132. 27 Raymond Williams, Culture and Society, 1780-1950 (London: Chatto, 1958) 56-65, 326-7. For music and utilitarian reform, see Gordon Cox, A History of Music Education in England 1872-1928 (Aldershot: Scalar, 1993) 9-11. 28 Michel Foucault, Discipline and Punish: The Birth of the Prison (1975), trans. Alan Sheridan (New York: Vintage, 1995) 205. 29 Foucault, Discipline and Punish, 200. 30 Foucault, Discipline and Punish, 205. 31 Alison Winter, Mesmerized: Powers of Mind in Victorian Britain (Chicago: Uni­ versity of Chicago Press, 1998) 309-20. 32 Louis Spohr, Autobiography (London: Longman, 1865) 2: 82. 200 Notes

33 Uohn Ella], Morning Post (27 May 1829). Cited in Adam Carse, The Orchestra from Beethoven to Berlioz: A history ofthe orchestra in the first halfof the 19th cen­ tury, and of the development of orchestral baton-conducting (Cambridge: Heffer, 1948) 300. Original emphasis. 34 Foucault, Discipline and Punish, 173. 35 The gaze and the baton were also crucial to systems of teaching sight-singing around the same time. See J.S. Curwen, The Story of Tonic Sol-fa, lOth edn. (London: J. Curwen and Sons, [1891]) 2. 36 Sebastian Hensel, The Mendelssohn Family (1729-1847): From Letters and Journals, trans. Carl Klingemann, 2nd rev. edn. (London: Sampson Low, 1881) 2: 161. 37 Lampadius, Life ofFelix Mendelssohn Bartholdy, 155. 38 Elliott W. Galkin, A History of Orchestral Conducting: In theory and practice (Stuyvesant, New York: Pendragon, 1988) 283, 310. 39 Hector Berlioz, A Treatise upon Modem Instrumentation and Orchestration, trans. Mary Cowden Clarke, 2nd edn. (London: Novello, 1858) 245. 40 John Vincent, Disraeli (Oxford: Oxford University Press, 1990) 90. 41 Benjamin Disraeli, "What is He? by the Author of 'Vivian Grey'" (1833) in Lord Beaconsfield on the Constitution (London: Field and Tuer, 1884) 15. 42 Vincent, Disraeli, 84. 43 Jenny Bourne Taylor and Sally Shuttleworth, eds, Embodied Selves: An Anthology ofPsychological Texts, 1830-1890 (Oxford: Clarendon, 1998) 228. 44 ''L'orgue politique," Journal de Rouen (le 28 pluviose an IV in the French revo­ lutionary calendar) n.p. Cited by Ingrid Sykes, "Acoustique, physique, dynamique: Instrument Design and the Acoustical Technology of Science and Industry in 19th-Century France," Twelfth Biennial International Conference on Nineteenth-Century Music, University of Leeds, UK, 5 July 2002. See also a discussion of this article in Michelle Biget, Musique et Revolution Franfaise (Paris: Annales Litteraires de l'Universite de Besan~on, Diffusion de Belles Lettres, 1989) 221. Ingrid Sykes kindly provided these sources and talked fur­ ther with me after the conference. 45 Samuel Butler, Erewhon (1872) in Erewhon; Erewhon Revisited (London: Dent, 1932) 26. Further page references appear in parentheses. 46 For more on utopian communities in the nineteenth century and their cri­ tique of capitalist exploitation, see A.L. Morton, The English Utopia (London: Lawrence and Wishart, 1952) 114-48. 47 While the narrator remains nameless in Erewhon, he is called George Higgs in the sequel, Butler's Erewhon Revisited (1901). 48 Morton, English Utopia, 144. See also Sue Zemka, "Erewhon and the End of Utopian Humanism," ELH 69.2 (Summer 2002): 469; Simon Dentith, "Imagi­ nation and Inversion in Nineteenth-Century Utopian Writing," Anticipations: Essays in Early Science Fiction and its Precursors, ed. David Seed (Syracuse: Syracuse University Press, 1995) 139. 49 Zemka, "Erewhon," 439. 50 Christopher Herbert, Culture and Anomie: Ethnographic Imagination in the Nineteenth Century (Chicago: University of Chicago Press, 1991) 158. 51 Edward W. Said, Culture and Imperialism (1993; London: Vintage, 1994) xii, xiii. Original emphasis. 52 Said, Culture and Imperialism, xii. 53 Said, Culture and Imperialism, xii. Notes 201

54 Herbert, Culture and Anomie, 15 7. 55 Herbert, Culture and Anomie, 159, 167. 56 Samuel Butler, review of "Performance of Israel in Egypt at Exeter Hall," The Drawing Room Gazette (2 December 1871), rpt in Michael Allis, "Samuel Butler and Handel; A Study of Obsession," Hiindel-Jahrbuch 44 (1998): 269. 57 Alexander Rehding, "Liszt's Musical Monuments," 19th-Century Music 26.1 (Summer 2002): 52. 58 Rehding, "Liszt's Musical Monuments," 53. 59 Rehding, "Liszt's Musical Monuments," 56. "Apotheosis" was the term used to describe this effect from the first. See Hector Berlioz, "The Musical Celebration at Bonn," Second Epilogue in Evenings with the Orchestra, ed. and trans. Jacques Barzun (1852; Chicago: University of Chicago Press, 1999) 340, originally pub­ lished in the Journal des Debats (22 August and 3 September 1845). There were also eighteenth-century monuments to Handel in England (in Vauxhall Gardens and Westminster Abbey), but the enormous size of the Erewhonian statues makes them more aptly compared with nineteenth-century monuments, such as the Bonn Beethoven Monument. For the Handel statues, see Suzanne Aspden, "'Fam'd Handel Breathing, tho' Transformed to Stone': The Composer as Monument," Journal of the American Musicological Society 55.1 (Spring 2002): 39-90. My thanks to Anna Celenza for mentioning Rehding's article to me. 60 Rehding, "Liszt's Musical Monuments," 56. 61 Rehding, "Liszt's Musical Monuments," 56. 62 Rehding, "Liszt's Musical Monuments," 58-61. 63 Robert Schumann, "Monument fiir Beethoven: Vier kritische Stimmen Hiertiber," Neue Zeitschri{t fiir Musik 4 (1836): 212. Cited in Rehding, "Liszt's Musical Monuments," 60. Rehding's translation. 64 Anna Celenza helpfully shared this information with me. See Manuela Jahrmaker, Ossian: Eine Figur und eine Idee des europiiischen Musiktheaters urn 1800 (Cologne, 1993). 65 jennifer Davis Michael, "Ocean Meets Ossian: Staffa as Romantic Symbol," Nineteenth-Century Worlds: Local/Global, an Interdisciplinary Nineteenth­ Century Studies Conference (INCS), University of Notre Dame London Centre, UK, 12 July 2003. My thanks to the author for allowing me to reference her paper. See J.M.W. Turner, Staffa, Fingal's Cave (1832; Yale Center for British Art); John Keats to his brother Tom, July 1818, Letters ofJohn Keats 1814-1821, ed. Hayder Edward Rollins (Cambridge, Massachusetts: Harvard University Press, 1958) 1: 348-50; Wordsworth's four sonnets on Staffa in the series Poems Composed or Suggested During a Tour, in the Summer of 1833. 1833 is the year after Mendelssohn's Overture, "The Hebrides or Fingal's Cave," Op. 26, pre­ miered in London. 66 Wordsworth, "Cave of Staffa" poems XXVIII, 13; XXIX, 3. 67 The Aeolian harp, a frame containing different lengths of strings strummed by the random breeze, represents divine inspiration filling the poet, who is analogous to the instrument. The caves were an acoustically resonant space filled by the sound of wind and waves, which Wordsworth suggests are inspiring to the observing poet: the poet "might stand I Gazing and take into his mind and heart, I With undistracted reverence, the effect" (XXVIII, 9-11). 68 For Handel's perceived Englishness, see Allis, "Samuel Butler and Handel," 235; Aspden, "Fam'd Handel Breathing," 39-90. 202 Notes

69 Katharine Ellis, "The criticism," The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge: Cambridge University Press, 2000) 158. Gazette musicale later became Revue et gazette musicale. 70 Jacques Barzun, introduction, Evenings with the Orchestra, xvii-xviii. 71 Middleton, introduction, vii. 72 Hector Berlioz, Evenings with the Orchestra, ed. and trans. Jacques Barzun (1852; Chicago: University of Chicago Press, 1999) 269. Further page references appear in parentheses. 73 Winter, Mesmerized, 317. 74 Joel-Marie Fauquet cites Berlioz's Grand Trait€ d'instrumentation et d'orchestration modernes (Paris, 1843) in his "The Grand Trait€ d'instrumentation," trans. Peter Bloom, The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge: Cambridge University Press, 2000) 167. Berlioz's concept of orchestration stresses not only the large proportions of the ideal orchestra, but also commu­ nity. The idea of unity is also familiar to German composition techniques, as Carl Maria von Weber declares: "By opera I understand, of course, the opera which the German desires - an art work complete in itseH, in which the partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world." Carl Maria von Weber, "On the Opera Undine," Allgemeine Musikalische Zeitung XIX (1817): 201-08. Rpt in Olive Strunk, ed., Source Readings in Music History: From Classical Antiquity through the Romantic Era (New York: Norton, 1950) 803. My thanks to Conrad Donakowski for observing the similarities between Weber's ideas and Charles Auchesters notions of community as depicted in the German conservatory. 75 The composers are arguably two halves of a whole. Xilef and Shetland can be seen as compositely referring to Felix Mendelssohn. Although Xilef's char­ acter seems more like Berlioz's than Mendelssohn's, some reference to Mendelssohn is implied because of the name (Xilef is "felix" spelled back­ wards). "Shetland" also brings to mind Mendelssohn's association with Scotland. Moreover, Mendelssohn was directing the musical life in Leipzig from 1835 to 1827, and Berlioz complimented it as a musical city "rich in instrumentalists" and with an extremely well-disciplined orchestra. Berlioz, Memoirs, 299, 300. The comparison might especially be sustained because Mendelssohn established the Leipzig Konservatorium in 1843, the same year in which Berlioz visited Mendelssohn in Leipzig. Berlioz's story about Euphonia, "a true conservatory" (269), was published a year later. The February visit to Leipzig was the first contact the two composers had had since their initial meeting in Rome in 1831. For details about the Rome and Leipzig visits, see Hector Berlioz, The Memoirs of Hector Berlioz (1865), trans. and ed. David Cairns, 2nd rev. edn. (London: Dent, 2002) 293-304. Berlioz does not mention the Konservatorium in his Memoirs, but he must have been aware of it, especially as it was being advertised as early as January 1843. Todd, New Grove, 16: 400; Todd, Mendelssohn, 448. 76 Hugh Macdonald, New Grove, 2nd edn., 3: 398. 77 Katherine Kolb, "The Short Stories," The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge: Cambridge University Press, 2000) 150. 78 Bacon is the violist; Dimsky, first double bass; Winter, second bassoon; Dervinck, first oboe; Turuth, second flute. While perhaps not organized around opera orchestras, famous literary and musical discussion groups flourished in Notes 203

nineteenth-century Europe, such as Leipzig's musical/literary society, Tunnel iiber der Pleisse. 79 Kolb, "Short Stories," 156.

3 Music, Climate Theory and the Working Classes in Sandra Belloni

1 Mervyn Jones, The Amazing Victorian: A Life of George Meredith (London: Constable, 1999) 110-11; J.S. Stone, George Meredith's Politics: As Seen in His Life, Friendships, and Works (Port Credit, Ontario: Meany, 1986) 29-40. For the original names of the novels, see Meredith's letters to Messrs Harper and Brothers, [?October-November 1863], Mrs Janet Ross, 1 December 1863, and W. Stanley Withers, 3 April1886, The Letters ofGeorge Meredith, ed. C.L. Cline, 3 vols (Oxford: Clarendon, 1970) 1: 234, 236; 2: 809. 2 Lionel Stevenson, The Ordeal of George Meredith (London: Peter Owen, n.d.) 158; loan Williams, "Emilia in England and Italy," Meredith Now: Some Critical Essays, ed. Ian Fletcher (London: Routledge, 1971) 144. 3 Gillian Beer, Meredith: A Change ofMasks; A Study ofthe Novels (London: Athlone, 1970) 36. 4 Lionel Stevenson's awareness of Vittoria as a "psychology of revolution" (Ordeal, 160) has often been cited by scholars. For example, see David Donald Stone, Novelists in a Changing World (Cambridge, Massachusetts: Harvard, 1972) 108; J.S. Stone, Meredith's Politics, 40. 5 J.S. Stone, Meredith's Politics, 40. 6 loan Williams discusses Sandra Belloni in Darwinian terms and sees Meredith's view in Vittoria as "the emergence of the Italian nation in terms of mankind's continuing evolution towards a higher nature." Williams, "Emilia," 163 n6, 156. While there are obvious similarities with my argument, I go into greater detail about Victorian mental physiology, its link to bodily action, and its perceived connection to nation-building. 7 G.H. Lewes, The Physiology of Common Life, vol. 2 (London: Blackwood, 1859-1860). 8 J.S. Stone, Meredith's Politics, 2. 9 George Meredith, Sandra Belloni, originally Emilia in England (1864; London: Constable, 1909) 389-90. Original emphasis. Further page references appear in parentheses. 10 Gillian Beer's discussion of Meredith's narrative techniques has some simi­ larity to my consideration of the connections made between mind and body in nineteenth-century science (Beer, Meredith, 3, 43-4). 11 See Herbert Spencer, "The Origin and Function of Music" (1857), Essays: Sdentific, Political, and Speculative (London: Longman, 1858) 359-84; G.H. Lewes, The Physiology of Common Life, 2: 58-60; Jenny Bourne Taylor and Sally Shuttleworth, eds, Embodied Selves: An Anthology of Psychological Texts, 1830-1890 (Oxford: Clarendon, 1998). 12 Nelson Moe, The View from Vesuvius: Italian Culture and the Southern Question (Berkeley: University of California Press, 2002) 13. 13 Another interesting depiction of a woman sponsoring a talented, working­ class singer for her own social success is found in Margaret Oliphant's Miss 204 Notes

Majoribanks (1866), a novel published two years after Sandra Belloni. The Piersons in Mrs Humphry Ward's Robert Elsmere attempt to use Rose similarly. 14 For Meredith's concerns regarding the novel's climax as being about charac­ ter rather than marriage, see Meredith to AugustusJessopp, c.16 March 1864, in Letters, ed. Cline, 1: 249. 15 Margot C. Finn, After Chartism: Class and nation in English radical politics, 1848-1874 (Cambridge: Cambridge University Press, 1993) 1-2, 61-5. 16 Harry Hearder, Italy in the Age ofthe Risorgimento 1790-1870 (London: Longman, 1983) 219-35. Also seeJ.S. Stone, Meredith's Politics, 10. 17 Hearder, Italy, 190-1, 211. 18 Finn, After Chartism, 188-9. See also Derek Beales, "Garibaldi in England: The politics of Italian enthusiasm," Society and Politics in the Age ofthe Risorgimento, eds John A. Davis and Paul Ginsborg (Cambridge: Cambridge University Press, 1991) 209-12. 19 Finn, After Chartism, 218-25. 20 Andrew Thompson, George Eliot and Italy: Literary, Cultural and Political Influences from Dante to the Risorgimento (London: Macmillan, 1998) 6-7. 21 Tom Winnifrith, "Renaissance and Risorgimento in Romola," George Eliot and Europe, ed. John Rignall (Aldershot: Scolar, 1997) 166-78; Thompson, George Eliot and Italy, 68-83. 22 Wilkie Collins, The Woman in White (1860; London: Penguin, 1974) 595. 23 Allan C. Christensen, A European Version of Victorian Fiction: The Novels of Giovanni Ruffini (Amsterdam: Rodopi, 1996). I am grateful to Derek Scott for mentioning Doctor Antonio to me. 24 Enzo Bottasso, "Successo e significato d'un romanzo ottocentesco: 11 dottor Antonio," Accademie e biblioteche d'Italia LIII (1985): 83. Cited in Christensen, European Version, 67. 25 Meredith to the Countess Evelyn Martinengo-Cesaresco, April 15, 1902, in Letters, ed. Cline, 3: 1436. 26 J.S. Stone, Meredith's Politics, 3, 12-13. 27 J.S. Stone, Meredith's Politics, 44-5. 28 Anna Harwell Celenza, Hans Christian Andersen and Music: The Nightingale Revealed (Aldershot: Ashgate, 2005) 49, 96. 29 Hans Christian Andersen, H. C. Andersens Dagbeger 1825-75, KAre Olsen and H. Tops0e-Jensen, eds, 12 vols (Copenhagen: Det danske Sprog- og Litter­ aturselskab/G.E.C. Gad, 1971-1976) (8 December 1833) 1: 247-8. Cited in Celenza, Andersen, 49. 30 Germaine de Stael, Corinne, or Italy (1807), trans. Sylvia Raphael (Oxford: Oxford University Press, 1998) 33. Further page references appear in parentheses. 31 Kari E. Lokke, Tracing Women's Romanticism: Gender, history and transcendence (London: Routledge, 2004) 13. 32 Kari E. Lokke, "'Children of Liberty': Idealist Historiography in Stael, Shelley, and Sand," PMLA 118.3 (May 2003): 508-09. 33 Walter Scott, Waverley (1814), ed. Andrew Hook (London: Penguin, 1972) 175. Further page references appear in parentheses. 34 Sydney Owenson, Lady Morgan, The Wild Irish Girl: A National Tale (1806), ed. Kathryn Kirkpatrick (Oxford: Oxford University Press, 1999) 52. Further page references appear in parentheses. 35 Charles Robert Maturin, The Milesian Chief: A Romance, 4 vols (London: Colburn, 1812) 1: 23. Further page references appear in parentheses. Notes 205

36 Katie Trumpener, Bardic Nationalism: The Romantic novel and the British Empire (Princeton: Princeton University Press, 1997) 75. 3 7 The national tale is a genre developed in Ireland in the first decade of the nineteenth century, dealing with the influence on characters of place rather than historical events. Katie Trumpener considers The Wild Irish Girl and The Milesan Chief to be national tales in her book, Bardic Nationalism (128-57). 38 Trumpener, Bardic Nationalism, xii. 39 Ian Duncan, Modem Romance and Transformations of the Novel: The Gothic, Scott, Dickens (Cambridge: Cambridge University Press, 1992) 81. 40 Jane Austen, Mansfield Park (1814), ed.James Kinsley (Oxford: Oxford University Press, 1990) 58. 41 J.S. Stone, Meredith's Politics, 34. 42 See Anon., "The Boot: From the Italian of Giuseppe Giusti," Macmillan's 2 Ouly 1860): 244-8. 43 George Meredith, The Egoist (1879), ed. Margaret Harris (Oxford: Oxford University Press, 1992) 10. Original emphasis. Further page references appear in parentheses. 44 For audience riots, see Anon., "Audience behavior at Sims Reeves's ballad concert, Oxford," Musical Times 13 Oanuary 1869): 639 [hereafter M1]; Anon., "Sims Reeves, the encore nuisance and audience behaviour at a ballad concert in Liverpool," MT 17 Ouly 1875): 137; Jennifer L. Hall-Witt, "Rep­ resenting the Audience in the Age of Reform: Critics and the Elite at the Italian Opera in London, Music and British Culture, 1785-1914: Essays in hon­ our of Cyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 136, 141; Dave Russell, Popular Music in England, 1840-1914: A Social History (Manchester: Manchester University Press, 1987) 30; Clifford Bevan, "Brass Band Contests: Art or Sport?", Bands: The Brass Band Movement in the 19th and 20th Centuries, ed. Trevor Herbert, Popular Music in Britain Series (Milton Keynes: Open University Press, 1991) 117; Jennifer L. Hall, "The Re-fashioning of Fashionable Society: Opera-going and Sociability in Britain, 1821-1861," PhD diss, Yale University, 1996, 246-54, 345-51. 45 John Ella, Record of the Musical Union, 3rd Series, no. 1 (23 March 1846): 1. 46 Christina Bashford, "Not Just 'G.': Towards a History of the Programme Note," George Grove, Music and Victorian Culture, ed. Michael Musgrave (Basingstoke: Palgrave Macmillan, 2003) 119-20; G.B. Shaw, "Bach and Don Pasquale," The Hornet (18 April 1877), rpt in Shaw's Music (The Bodley Head Bernard Shaw), ed. Dan H. Laurence (London: Reinhardt, The Bodley Head, 1981) 1: 113. 47 Anon., "English Audiences," MT 26 (1 September 1885): 527. 48 Trilby does not incite violence, but her performance is described in the dis­ course of crowd psychology. See Phyllis Weliver, "Music, crowd control and the female performer in Trilby," The Idea of Music in Victorian Fiction, eds Sophie Fuller and Nicky Losseff (Aldershot: Ashgate, 2004) 57-80. 49 A conversation with Charles McGuire suggested the parenthetical comment. 50 Jean-Jacques Rousseau, "Essay on the Origin of Languages in which Something is said about Melody and Musical Imitation" (1781), The First and Second Discourses and Essay on the Origin ofLanguages, ed. and trans. Victor Gourevitch (New York: Harper, 1986) 245-7. 51 Rousseau, "Essay on the Origin," First and Second Discourses, ed. Gourevitch, 276. 206 Notes

52 Maurice Cranston, Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, 1712-1754 (1983; Harmondsworth: Penguin, 1987) 281. There is debate regarding when the Essai was composed, with general agreement that it must have been begun in 1755 at the earliest and finished around 1761. Downing A. Thomas, Music and the Origins ofLanguage: Theories from the French Enlightenment (Cambridge: Cambridge University Press, 1995) 84. 53 Thomas, Music and the Origins ofLanguage, 85. 54 Cranston, Jean-Jacques, 281; John T. Scott, introduction, Essay on the Origin of Languages and Writings Related to Music by jean-Jacques Rousseau, trans. and ed. John T. Scott, The Collected Writings ofRousseau (Hanover, New Hampshire: University Press of New England, 1998) 7: xix. As Scott describes, the Quarrel of the Bouffons originated in August 1752 with a Paris production of Pergolesi's La Serva padrona given by an Italian opera troupe. Its success, and that of subsequent, equally successful Italian operas, alarmed advocates of French music. Rousseau's Letter to Grimm on the Subject ofthe Remarks Added to His Letter on "Omphale" {April 1752) marked his entry into the debate and was followed by Letter from a Symphonist, Letter on French Music and his opera Le Devin du village. Scott, introduction, 7: xix-xxiii. 55 Jean-Jacques Rousseau, Letter on French Music in Essay on the Origin ofLanguages and Writings Related to Music, trans. and ed. John T. Scott, Collected Writings of Rousseau, 7: 145. 56 See Denise Launay, ed., La Querelle des Bouffons, 3 vols (Paris: 1973) 1: 689. Cited by Cranston, Jean-Jacques, 281-2. 57 Grassineau's Musical Dictionary with an appendix from the dictionnaire de Musique ofM. Rousseau [trans. by )ames Grassineau from the French of S. de Broosard] (London: Robson, 1769) 27. 58 john T. Scott, Collected Writings of Rousseau, 7: xxiv. 59 John T. Scott, Collected Writings of Rousseau, 7: xxiv. 60 Roberto M. Dainotto, Place in Literature: Regions, Cultures, Communities {Ithaca: Cornell University Press, 2000) 85-9. 61 Dainotto, Place, 84. See Elizabeth Gaskell, North and South (1855). 62 Stephen Banfield, "Aesthetics and Criticism," The Romantic Age: 1800-1914, ed. Nicholas Temperley {London: Athlone, 1981) 455-9. Ideas of climate as related to musical style were also developed in the course of the century. See Henry Fothergill Chorley, The National Music of the World {London: Sampson Low, 1880) 15-16, 77-87, 125, 176. Bennett Zon helpfully suggested the latter source to me. 63 Spencer, "Origin," 368, 369, 371. 64 Spencer, "Origin," 381. 65 Spencer, "Origin," 382. Original emphasis. 66 Spencer, "Origin," 384. 67 Similarly, Rousseau uses the example of a Tarantula bite to demonstrate that the cure depends on the victim being acquainted with the tunes and words of his or her own nation. Rousseau, Essai, 283-4. 68 Catherine Clement, Opera, or the Undoing of Women, trans. Betsy Wing (1988; London: Virago, 1989) 9. 69 Meredith to Augustus )essopp, c.16 March 1864, in Letters, ed. Cline, 1: 249. 70 Unpublished note by Meredith from the 1880s, cited by Beer in Meredith, 182. Notes 207

71 Meredith to Frederick A. Maxse, [?28 December 1865], in Letters, ed. Cline, 1:323. 72 Meredith to Algernon C. Swinburne, 2 March 1867, in Letters, ed. Cline, 1: 354.

4 Imagining 1848 Risorgimento Opera Production in Vittoria

1 For Sandra Belloni as topical, see Lionel Stevenson, The Ordeal of George Meredith (London: Peter Owen, n.d.) 131-2. 2 Delia da Sousa Correa, George Eliot, Music and Victorian Culture (Basingstoke: Palgrave Macmillan, 2003) 36. 3 George Meredith, Vittoria (1867), rev. edn. (Westminster: Constable, 1897) 10. Further page references appear in parentheses. 4 Roger Parker, "The Opera Industry," The Cambridge History ofNineteenth-Century Music, ed. Jim Samson (2001; Cambridge: Cambridge University Press, 2002) 90; Roger Parker, "Arpa d'or dei fatidid vati": The Verdian Patriotic Chorus in the 1840s (Parma, Italy: Istituto Nazionale di Studi Verdiani, 1997). For the tradi­ tional view of Verdi's 1840s operas, see David R.B. Kimbell, Verdi in the Age of Italian Romantidsm (Cambridge: Cambridge University Press, 1981) 1. 5 Parker, Arpa, 94. 6 Roger Parker, Verdi and His Operas, ed. Stanley Sadie (London: Macmillan, 2000) 18-19; Parker, Arpa. 7 For grand opera, see Parker, "Opera Industry," 107-08. 8 Entry for "Verdi" by Roger Parker, The New Grove Dictionary of Music and Musidans, ed. Stanley Sadie, 2nd edn. (London: Macmillan, 2001) 26: 454; Parker, Verdi, 27; Richard Dellamora and Daniel Fischlin, introduction, The Work ofOpera: Genre, Nationhood, and Sexual Difference, eds Richard Dellamora and Daniel Fischlin (New York: Columbia University Press, 1997) 1. Recent scholarship has furthered Parker's idea that the association between Verdi and patriotism represents a retrospective labeling, using the origin of the acrostic V.E.R.D.I. as a way of locating the precise moment in 1859 when patriotic reception of Verdian opera began in Italy. See Birgit Pauls, Giuseppe Verdi und das Risorgimento (Berlin: Akademi Verlag, 1996); Michael Sawall, "'VIVA V.E.R.D.I.': Origine e ricenzione di un simbolo nazionale nell'anno 1859," Verdi 2001, eds Fabrizio della Seta, Roberta Montemorra Marvin, and Marco Marica (Florence: Olschki, 2003) 1: 123-31. 9 Entry for "Verdi" by Parker, New Grove, 26: 446. 10 Parker, Arpa, 27. 11 John Rosselli, The Opera Industry in Italy from Cimarosa to Verdi: The role of the impresario (Cambridge: Cambridge University Press, 1984) 165-7. 12 Harry Hearder, Italy in the Age ofthe Risorgimento 1790-1870 (London: Longman, 1983) 249; Derek Beales, The Risorgimento and the Unification ofItaly (London: Allen and Erwin, 1971) 46. 13 Beales, Risorgimento, 46. 14 Rosselli, Opera, 165. 15 As Parker documents, the biography is Arthur Pidgin's Giuseppe Verdi: Vita aneddotica (Milano, 1881). Parker, Arpa, 20-1. 208 Notes

16 For the movement from sophisticated thought and plot in eighteenth­ century Italian opera to growing emphasis on melodic set numbers in the early nineteenth century, see Kimbell, Verdi, 65-70. 17 Walter Bagehot, The English Constitution (1867; London: Fontana, 1993) 86. 18 Bagehot, English Constitution, 82. 19 M.W. Taylor, Men versus the State: Herbert Spencer and Late Victorian Individualism (Oxford: Clarendon, 1992) 115-31. 20 Herbert Spencer, "Progress: Its Law and Cause" (1857) in Essays: Scientific, Political, and Speculative (London: Longman, 1858) 1-54. First published in The Westminster and Foreign Quarterly Review ns 11 (1 April 185 7): 445-85. 21 For Meredith and the Westminster Review, see Gordon S. Haight, "George Meredith and the 'Westminster Review'," The Modem Language Review 53.1 (January 1958): 1-16; J.S. Stone, George Meredith's Politics: As Seen in His Life, Friendships, and Works (Port Credit, Ontario: Meany, 1986) 20. 22 Alexander Bain, The Emotions and the Will (London: Parker, 1859) 3: 3, 36. 23 Dellamora and Fischlin, Work of Opera, 2. 24 Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991) 12. 25 McClary, Feminine Endings, 8. 26 For a general history of post-1848 Italian opera and Verdi's break with earlier traditions, where musical structure did not necessarily match subject matter, see John Rosselli, "Italy: the Decline of a Tradition," The Late Romantic Era, ed. Jim Samson (London: Macmillan, 1991) 126-35. 27 For Rigoletto (185 1) and n Trovatore (1853) as mid-century representations of "a Janus-faced perspective of Italian opera," see Thomas Grey, "Opera and music drama," The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (2001; Cambridge: Cambridge University Press, 2002) 377. 28 For orchestral thought and its influence on opera, see Parker, "Opera Industry," 103, 106. 29 Of course, Verdi participated in a more Europe-wide movement to fuse dra­ matic story with realistic music. See Rosselli, "Italy," 134-5; Parker, "Opera Industry," 105-06; Grey, "Opera and music drama," 377-9. 30 Kimbell, Verdi, 68. 31 Hilary Poriss, "A Madwoman's Choice: Aria substitution in Lucia di Lammermoor," Cambridge Opera Journal 13.1 (2001): 21-2; Hilary Poriss, "Verdi meets Bellini: I Lombardi in Beatrice di Tenda's Castle," Verdi 2001, eds della Seta, Marvin, and Marica, 1: 74-6. 32 Poriss, "Verdi meets Bellini," 1: 69. 33 Verdi to Giovanni Ricordi, 20 May 1847, I copialettere di Giuseppe Verdi, eds G. Cesari and A. Luzio (Milan, 1913) 37-9. Cited and translated in Roger Parker, Studies in Early Verdi 1832-1844 (New York: Garland, 1989) 145, 166 n4. 34 [Meredith], "Belles Lettres and Art," Westminster Review ns 12 (1 July 1857): 306. 35 [Meredith], "Belles Lettres and Art," Westminster Review ns 11 (April 1857): 602, 603. See also J.S. Stone, Meredith's Politics, 21-2; Meredith to Augustus Jessup, 13 November 1861, in The Letters of George Meredith, ed. C.L. Cline (Oxford: Clarendon, 1970) 1: 110. 36 See [Meredith], "Belles Lettres and Art," Westminster Review ns 12 (1 July 1857): 307. 37 J.S. Stone, Meredith's Politics, 22. Notes 209

38 Meredith to Augustus Jessup, 13 November 1861, in Letters, ed. Cline, 1: 110; Meredith, "Belles Letters and Art," Westminster Review, April 1857 to January 1858. 39 Beer, Meredith, 1. 40 Beer, Meredith, 185. 41 See Henry Fothergill Chorley, Thirty Years' Musical Recollections, 2 vols (London: Hurst and Blackett, 1862). 42 I have primarily examined The Comhill Magazine, which published articles, poetry and novels associated with the Risorgimento, such as George Eliot's Romola (1862-1863). Meredith originally hoped to serialize Vittoria in the Comhill. See Meredith to William Hardman, May 29, 1864, Letters, ed. Cline, 1:257. 43 Beer, Meredith, 187. 44 loan Williams, "Emilia in England and Italy," Meredith Naw: Some Critical Essays, ed. Ian Fletcher (London: Routledge, 1971) 162. 45 Meredith to Frederick A. Maxse, [?8 December 1865], Letters, ed. Cline, 1: 320.

5 Shaw's Fiction and the Emerging English Musical Renaissance

1 G.B. Shaw, "A Reminiscence of Hector Berlioz," 1880. Unpublished short story, Papers of George Bernard Shaw, add. ms. 50693 (ff. 293) 1879-1901. Shaw's pages 11-12. Pages 57-8 of the folio. The British Library, London. Consulted 18 July 2003. Original emphasis. 2 Shaw, "Reminiscence," Shaw's page 2. Page 48 of the folio. 3 Hector Berlioz, The Memoirs ofHector Berlioz (1865), trans. and ed. David Cairns, 2nd rev. edn. (London: Dent, 2002) 120. 4 Michael Holroyd, Bernard Shaw: The One-Volume Definitive Edition (London: Chatto, 1997) 136-7. 5 Richard Farr Dietrich, Bernard Shaw's Novels: Portraits of the Artist as Man and Superman (Gainesville: University Press of Florida, 1996) xiii, 4-5; G.B. Shaw, Collected Letters 1874-1897, ed. Dan H. Laurence (London: Reinhardt, 1965) 48. 6 Sally Peters, "Shaw's Life: A Feminist in Spite of Himself," The Cambridge Companion to George Bernard Shaw, ed. Christopher Innes (Cambridge: Cambridge University Press, 1998) 7; Dan H. Laurence, introduction, Shaw's Music (The Bodley Head Bernard Shaw), ed. Dan H. Laurence (London: Reinhardt, The Bodley Head, 1981) 1: 13-17. 7 Between 1877 and 1888 Shaw did continue to contribute music criticism to journals such as the Dramatic Review, Our Comer, and the Magazine of Music. See editor's note to Shaw's letter to Edwin Paget Palmer, 26 February 1885, Collected Letters, ed. Laurence, 118. However, this criticism is not as well known as the period from 1888 to 1894, or even 1876-1877. 8 See William Irvine, "Bernard Shaw's Early Novels," The Trollopian 2.1 (1947): 34; Dietrich, Shaw's Novels, 117-19. 9 Peters, "Shaw's Life," 8; Irvine, "Shaw's Early Novels," 37-8. 10 Irvine, "Shaw's Early Novels," 31. 11 Paula Gillett, Musical Women in England, 1870-1914 (London: Macmillan, 2000) 43, 46-7, 50-1. For more on the riot, Gillett cites Henrietta Barnett, Canon Barnett, 2 vols (London: Murray, 1918) 1: 142-3. 210 Notes

12 George Bernard Shaw, The Irrational Knot (1880; London: Constable, 1950) 10. Further page references appear in parentheses. 13 Guide-books are necessary for dedphering the monument's references to the Great Exhibition of 1851, Prince Albert's support of the arts, and the national contribution to the ornate shrine, which cost £90,000. J. W., The Penny Guide to the Albert Memorial (London: Arnold, 1872) 8. See also Handbook to the Prince Consort National Memorial, published by Authority of the Executive Committee, new edn. (London: Murray, 1874); Proposed National Memorial to His Royal Highness the Prince Consort (n.p.: Singer, 1862) BL Shelfmark 10805 c22. 14 G.B. Shaw, Love among the Artists (1881; London: Constable, 1932) 8. Original emphasis. Further page references appear in parentheses. 15 G.B. Shaw, "Mr. Bernard Shaw's Works of Fiction. Reviewed by Himself," The Novel Review n.s. 33 (February 1892): 234. 16 Dan H. Laurence, editor's note for Shaw's letter to Richard Bentley & Son (18 February 1882), Collected Letters, ed. Laurence, 48. 17 Richard Dietrich also makes this connection, but does not expand upon it beyond a single sentence (Shaw's Novels, 116). 18 Michael Allis, "Musical Reactions to Tennyson: Reformulating Musical Imagery in 'The Lotos-Eaters'," The Figure ofMusic in Nineteenth-Century British Poetry, ed. Phyllis Weliver (Aldershot: Ashgate, 2005) 143-4; Jeremy Dibble, "Parry as Historiographer," Nineteenth-Century British Music Studies, ed. Bennett Zon, vol.l (Aldershot: Ashgate, 1999) 38-41. 19 C. Hubert H. Parry, Studies ofGreat Composers (London: Routledge, 1887) 156. 20 Chapter 1, "Renaissance and reformation (1840-94)," Meirion Hughes and Robert Stradling, The English Musical Renaissance, 1840-1940: Constructing a National Music, 2nd edn. (Manchester: Manchester University Press, 2001) 3-51; Meirion Hughes, The English Musical Renaissance and the Press 1850-1914: Watchmen ofMusic (Aldershot: Ashgate, 2002) 3. 21 Ernest Walker, A History ofMusic in England (1907), 3rd edn. rev. by J.A. Westrup (Oxford: Clarendon, 1952) 331; Edward Elgar's inaugural lecture for the posi­ tion of Peyton Professor of Music at Birmingham University (16 March 1905) 2, rpt in Edward Elgar, A Future for English Music and Other Lectures, ed. Percy M. Young (London: Dobson, 1968) 23; J.A. Fuller Maitland, English Music of the Nineteenth Century (London: Grant Richards, 1902) 188, 199;Jeremy Dibble, C. Hubert H. Parry: His Life and Music (Oxford: Clarendon, 1992) 193. 22 Michael Allis, Parry's Creative Process (Aldershot: Ashgate, 2003) 6. 23 Allis, Parry's, 6 n20. 24 For Shaw's repeated parodies of program notes, which he found useless, see Jacques Barzun, "Shaw versus Stendhal," Partisan Review 51.4/52.5 (1984- 1985): 616. 25 G.B. Shaw, preface (1935) to London Music in 1888-89 as Heard by Como di Bassetto (Later Known as Bernard Shaw) with Some Further Autobiographical Particulars, G.B. Shaw (London: Constable, 1937) 21-2. 26 For the Concerts of Andent Music, see Simon McVeigh, Concert Life in London (Tom Mozart to Haydn (Cambridge: Cambridge University Press, 1993) 7; William Weber, Music and the Middle Class: The Sodal Structure ofConcert Life in London, Paris and Vienna (London: Croom Helm, 1975) 53, 61-6. 27 Weber, Music, 62. 28 Beginning in 1871, "Professor John Ella" or, more usually, "Professor Ella," is how Ella's name appears on the cover of his Annual Record of the Musical Union. Notes 211

I am indebted to a conversation with Christina Bashford for information on London music societies and, especially, John Ella. See Christina Bashford, "John Ella and the Making of the Musical Union," Music and British Culture, 1785-1914: Essays in honour of Cyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 193-214. 29 Bashford, "John Ella," 205. 30 For the conservativeness of the Musical Times as Novello's house journal, see Hughes and Stradling, English Musical Renaissance, 40; for the role of the press in the national music project, see Hughes, Watchmen, 1. 31 David Donald Stone, Novelists in a Changing World (Cambridge, Massachusetts: Harvard, 1972) 1-24. 32 For Lasserre, see Ella, "To the Members of the Musical Union" (19 December 1880), Thirty-Sixth Annual Record of the Musical Union (1880) iv. For Parry's piece, see Thirty-Seventh Annual Record of the Musical Union (1881) 5-8, 12. 33 Parry, as the prototypical progressive composer, is further substantiated by Owen Jack's being thirty-four years old during his first Antient Orpheus com­ mission, which is very close to Parry's age of thirty-three in 1881. My thanks to Michael Allis for noticing the similarity of ages. 34 For the Philharmonic Society, see Cyril Ehrlich, First Philharmonic: A history of the Royal Philharmonic Sodety (Oxford: Clarendon, 1995) 8-14, 31-2, 248-66. The Musical Union programmed only chamber music. 35 See Fuller Maitland, English Music, 201; Hughes, Watchmen, 24, 37; Hughes and Stradling, English Musical Renaissance, 219; E.D. Mackerness, "George Bernard Shaw and the English Musical Renaissance," Durham University Journal 79.2 (1987): 303. 36 Shaw, "The Bach Bicentenary," The Dramatic Review (28 March 1885); Shaw, "The Most Utter Failure Ever Achieved," The World (3 May 1893). Both rpt in Shaw's Music, 1: 219-24, 2: 869-76. My thanks to Jeremy Dibble for this infor­ mation. See also Shaw's letter to Edwin Paget Palmer on 26 February 1885, Collected Letters, 118-19. 37 Shaw began the novel on 19 May 1881 and finished it on 10 January 1882. These dates are found in the Papers of George Bernard Shaw held by The British Library, London. See the page for 1881 in "autobiographical notes, etc., 1877-1889," add. ms. 50510A (ff. i + 26), n.d. and Plan 3 Love among the Artists in "Draft poems, articles, letters, synopses of novels, printed leaflets, notes on music, shorthand exercises, etc.; 1877-1884, n.d.," add. ms. 50721A, B (ff. 123, 68). For the success of the Cambridge performance and the Novello publication date, see Dibble, Parry, 196, 511. 38 G.B. Shaw, "Most Utter Failure Ever Achieved," rpt in Shaw's Music, 2: 873. 39 Dibble, Parry, 188, 194. 40 Hughes, Watchmen, 139-42; Dibble, Parry, 186-7, 194-5. 41 Phipson's description of Jack's Prometheus Unbound is of "four scenes with chorus, a dialogue of Prometheus with the earth, an antiphony of the earth and moon, an overture, [ ... ] a race of the hours" (205), a dialogue between Asia and Panthea, and half-hour overture, while Parry's setting includes three scenes with chorus, a monologue by Prometheus, solo by Jupiter, dialogue between Prometheus and Mercury, Spirit of the Hour solo, song for The Earth, various choruses, and a 45-bar prelude. 42 Dibble, Parry, 186. 212 Notes

43 G.B. Shaw, preface to the first German edition (1907), The Perfect Wagnerite: A Commentary on the Niblung's Ring (1898; New York: Bretano, 1909) xvii. 44 Shaw, Perfect Wagnerite, 73. 45 Because I am referring to Shaw, I am using his anglicized spellings of the char- acter's names. It is, of course, more usual to use the German spellings. 46 Shaw, Perfect Wagnerite, 28-9, 98-9. 47 Hughes and Stradling, English Musical Renaissance, 220-1. 48 Miriam All ott, "Attitudes to Shelley: The vagaries of a critical reception," Essays on Shelley, ed. Miriam Allott (liverpool: Liverpool University Press, 1982) 2, 22-3,27. 49 Roland A. Duerksen, Shelleyan Ideas in Victorian Literature (London: Mouton, 1966) 166-74. 50 Matthew Arnold, "Byron," (1881), Essays in Criticism, Second Series (London: Macmillan, 1888) 204. Originally published as Arnold's preface to Poetry of Byron, chosen and arranged by Matthew Arnold (London: Macmillan, 1881). 51 Arnold, "Byron," 165. 52 All ott, "Attitudes," 22. 53 Valeria Tinkler-Villani, "Victorian Shelley: Perspectives on a Romantic Poet," Configuring Romanticism: Essays offered to C.C. Barfoot, eds Theo D'haen, Peter liebregts, and Wim Tiggers assisted by Colin Ewen (Amsterdam: Rodopi, 2003) 93. 54 Tinkler-Villani, "Victorian Shelley," 96, 102. 55 Shaw to Edwin Paget Palmer, 26 February 1885, Collected Letters, 118-19. 56 Fuller Maitland includes C. Hubert H. Parry, Charles Villiers Stanford, Alexander Campbell Mackenzie, Arthur Goring Thomas and Frederic Cowen in his list of Renaissance composers, which makes up a specifically English school (English Music, 185). Hughes and Stradling agree with the list, although they stress that it was British rather than English (English Musical Renaissance, 38-9). The idea of whether the Musical Renaissance was English or British continues to be debated, as occurred at the EMR panel at the Seventieth Annual Meeting of the American Musicological Society (2005). 57 Mary Wollstonecraft Shelley's novel, Frankenstein (1818), is subtitled "The Modern Prometheus." 58 P.B. Shelley, preface, Prometheus Unbound (1820) by Percy Bysshe Shelley in Shelley's Poetry and Prose, eds Donald H. Reiman and Sharon B. Powers (New York: Norton, 1977) 135. 59 See Hughes' discussion of joseph Bennett's review of Parry's premier per­ formance of Symphony No.3, "English." Hughes, Watchmen, 149-50. 60 Cited in the editor's note to Shaw's letter to Richard Bentley & Son (18 February 1882) Collected Letters 1874-1897, ed. Laurence, 48. 61 Michael Allis proposed this very interesting idea to me during a conversation about this chapter. 62 Dibble, Parry, 184; Anne Dzamba Sessa, Richard Wagner and the English (London: Associated University Presses, 1979) 28. 63 Hughes and Stradling, English Musical Renaissance, 222. 64 Stefan Collini, Liberalism and Sociology: L. T. Hob house and Political Argument in England 1880-1914 (Cambridge: Cambridge University Press, 1979) 16. 65 Oscar Wilde, "The Soul of Man under Socialism," Fortnightly Review (February 1891), rpt in The Soul of Man under Socialism and Selected Critical Prose, ed. linda Dowling (London: Penguin, 2001) 128. Notes 213

66 Wilde, "Soul of Man," 133. 67 Wilde, "Soul of Man," 142. 68 Wilde, "Soul of Man," 144. 69 Shaw, "Messiah in the Albert Hall" (27 December 1876); "Wagner at Covent Garden Theatre" (27 June 1877); "The Handel Festival" (4 July 1877); "The Opera Season in Retrospect: I" (18 July 1877); "The Opera Season in Retrospect: II" (25 July 1877); all rpt in Shaw's Music, 1: 75-6, 140-1, 151-2, 160, 164. 70 Michael Musgrave, "Changing Values in Nineteenth-Century Performance: The Work of Michael Costa and August Manns," Music and British Culture, eds Bashford and Langley, 169, 176--8. 71 Shaw, "Vocalists of the Season: Sir Michael Costa," (1 August 1877), rpt in Shaw's Music, 1: 169, 170. See also Musgrave, "Changing Values," 183-4. Original emphasis. The reference to playing the orchestra like a piano recalls Berlioz's similar pronouncements in "Euphonia" and Grand Traite d'instru­ mentation et d'orchestration modernes (1843), considered in Chapter 2 of the present volume. 72 Hugo Riemann, Katechismus der Kompositionslehre [Musikalische Formenlehre] originally published as Grundriss der Kompositionslehre (Leipzig, 1889) 2: 124. Cited in Catherine Coppola, "The Elusive Fantasy: Genre, Form, and Program in Tchaikovsky's Francesca da Rimini," 19th Century Music 22.2 (1998): 170. 73 George Eliot, Daniel Deronda (1876), Cabinet edn., 3 vols (Edinburgh: Black­ wood, 1878) 1: 68. 74 Leanne Langley, "Agency and Change: Berlioz in England, 1870-1920," 4th Biennial International Conference on Music in Nineteenth-Century Britain, University of Leeds, UK, 25 July 2003. 75 The fictional work expresses opinions about musical professors and schools that Shaw held throughout his journalist career. See Shaw, "Nearly a Blank" (3 January 1877), rpt in Shaw's Music, 1: 79; Shaw, "Analytic Criticism," The World (16 August 1893); rpt in Shaw's Music, 2: 961. 76 G.B. Shaw, "How to become a Musical Critic," The Scottish Musical Monthly (December 1894), rpt in The New Music Review (October 1912), rpt in How to become a Musical Critic, ed. Dan H. Laurence (London: Hart-Davis, 1960) 2. 77 Shaw, "How to become a Musical Critic," 5. 78 See Regenia Gagnier, Idylls of the Marketplace: Oscar Wilde and the Victorian Public (Aldershot: Scolar, 1986) and Sutton's chapter, "Commercialism and Consumerism: Wagnerism in The Savoy," in her book, Aubrey Beardsley and British Wagnerism in the 1890s (Oxford: Oxford University Press, 2002) 117-42. 79 Sutton, Aubrey Beardsley, 25. 80 For an excellent history of Anglo-American criticism of decadence, including ideas about l'art pour l'art as autonomous versus economically engaged, see Gagnier, Idylls of the Marketplace, 3, 218-19 n34. 81 Karl Beckson, London in the 1890s: A cultural history (New York: Norton, 1992) 32-3, 277; Ian Fletcher and Malcolm Bradbury, preface, Decadence and the 1890s, ed. Ian Fletcher (London: Edward Arnold, 1979) 7-13; Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siecle (1990; London: Virago, 1995) 169. 82 Hugh Montgomery to Parry, 20 April 1879. Shulbrede Priory, Lynchmere, Sussex. Cited in Dibble, Parry, 172. 83 Emma Sutton, " 'The Music Spoke for Us': Music and Sexual Identity in fin­ de-siecle Poetry," The Figure of Music in Nineteenth-Century British Poetry, ed. Weliver, 213-29. 214 Notes

84 For Wilde, see Gagnier, Idylls of the Marketplace, 7, 51-99.

6 From Collective Action to Creative Individuality: Robert Elsmere, Dodo, Althea and Howards End

1 For Ward's progress on the novel, see Mrs Humphry Ward, introduction, Robert Elsmere by Mrs Humphry Ward, Westmoreland edn (London: Smith, Elder, 1911) 1: xvi. 2 David Donald Stone, Novelists in a Changing World (Cambridge, Massachusetts: Harvard, 1972) 1, 47; Henry James, "Mrs Humphry Ward" (1891), Essays in London and Elsewhere (London: Osgood, 1893) 265-6; William S. Peterson, Victorian Heretic: Mrs Humphrey Ward's Robert Elsmere (Leicester: Leicester University Press, 1976) 1, 159. 3 Mrs Humphry Ward, Robert Elsmere (1888; London: Smith, 1890) 418. Further page references appear in parentheses. 4 Jeremy Dibble, C. Hubert H. Parry: His Life and Music (Oxford: Clarendon, 1992) 196. 5 Arnold Schoenberg, "Brahms the Progressive" (1947), Style and Idea, ed. Leonard Stein, trans. Leo Black (London: Faber, 1975) 398-441. My thanks to Michael Allis for this source. 6 Janet Penrose Trevelyan, The Life of Mrs Humphry Ward (London: Constable, 1923) 29. 7 Matthew Arnold, On the Study of Celtic Literature (1866), rpt in The Complete Prose Works of Matthew Arnold, ed. R.H. Super (Ann Arbor: University of Michigan Press, 1962) 3: 301 [hereafter CL]. 8 See Robert J.C. Young, Colonial Desire: Hybridity in Theory, Culture and Race (London: Routledge, 1995) 62-89. 9 Stefan Collini, introduction, Culture and Anarchy and Other Writings by Matthew Arnold, ed. Stefan Collini (Cambridge: Cambridge University Press, 1993) XX. 10 Matthew Arnold, Culture and Anarchy (1869) in Culture and Anarchy and Other Writings, ed. Stefan Collini (Cambridge: Cambridge University Press, 1993) 135-6 [hereafter CA]. 11 Arnold, CL, 337-41. 12 Stephen Prickett, "Purging Christianity of its Semitic Origins: Kingsley, Arnold and the Bible," Rethinking Victorian Culture, eds Juliet John and Alice Jenkins (London: Macmillan, 2000) 71. 13 Arnold, CL, 3: 337. 14 Young, Colonial Desire, 70. 15 Stefan Collini, Matthew Arnold: A Critical Portrait (1988; Oxford: Clarendon, 1994) 85. 16 Arnold, CL, 3: 344-5. 17 Arnold, CL, 3: 341. 18 Arnold, CA, 135-7. 19 Young, Colonial Desire, 67-68. 20 Mrs Humphry Ward, introduction, Villette by Charlotte Bronte, Haworth edn. (London: Smith, Elder, 1899) xx-xxi. 21 Ward, introduction, Villette, xxvii-xxviii. Notes 215

22 Ward, introduction, Villette, xxviii, xxxi. 23 Aristotle, Politics VII1.7.5-6; Rhetoric 11.1.8; Poetics, sec.9, 1449b25-30, trans. Gerald F. Else (Ann Arbor: University of Michigan Press, 1970) 25. 24 Arnold, CA, 67. 25 See H.R. Haweis, "Forewords on Robert Elsmere," The Broad Church: Or what is coming (London: Low, Marston, Searle, & Rivington, 1891) 1-20. 26 Stone, Novelists, 48; Vineta Colby, The Singular Anomaly: Women Novelists of the Nineteenth Century (1970; New York: New York University Press, 1972) 136. 27 Mrs Humphry Ward, A Writer's Recollections (London: Collins, 1918) 232. 28 Ward, Writer's Recollections, 232. 29 Letter from Henry James to Mrs Humphry Ward, 5 july 1888, cited in Ward, introduction, Robert Elsmere, xxxix. 30 Peterson, Victorian Heretic, 141. 31 John Hollander, Vision and Resonance: Two Senses of Poetic Form (1975), 2nd edn. (New Haven: Yale University Press, 1985) 24-5. 32 William Wordsworth, "The Solitary Reaper," Poems, in Two Volumes, and Other Poems, 1800-1807, ed. jared Curtis (Ithaca: Cornell University Press, 1983) 185, lines 25-6, 29-32. 33 Playing the violin also marks Rose's character as progressive for the violin only became an acceptable women's instrument in the 1870s. Paula Gillett, Musical Women in England, 1870-1914 (London: Macmillan, 2000) 109-34; Phyllis Weliver, Women Musicians in Victorian Fiction, 1860-1900: Repre­ sentations of music, science and gender in the leisured home (Aldershot: Ashgate, 2000) 46-7. 34 Athena Vrettos, Somatic Fictions: Imagining illness in Victorian Culture (Stanford: Stanford University Press, 1995) 81-3. 35 Phyllis Weliver, "Music, crowd control and the female performer in Trilby," The Idea of Music in Victorian Fiction, eds Sophie Fuller and Nicky Losseff (Aldershot: Ashgate, 2004) 57-80. 36 Gage McWeeny, "Crowd Management: Matthew Arnold and the science of society," VictorianPoetry41.1 (2003): 105. 37 Collini, Arnold, 81. 38 Arnold, CA, 84-5; McWeeny, "Crowd Management," 106. 39 Benjamin Disraeli, Vindication of the English Constitution (London: Saunders and Oley, 1835) 12; Disraeli, Coningsby: or The New Generation (1844; Oxford: Oxford University Press, 1982) 266; Samuel Taylor Coleridge, On the Con­ stitution of The Church and State (London: Hurst, Chance, 1830) 47-52; Thomas Carlyle, On Heroes, Hero-Worship and the Heroic in History in Works of Thomas Carlyle, 7: 147-8, cited in Raymond Williams, Culture and Society, 1780-1950 (London: Chatto, 1958) 84. Williams gives no further biblio­ graphic information. 40 Arnold, CA, 84. 41 McWeeny, "Crowd Management," 107. 42 Arnold, CA, 86. 43 Arnold, CA, 83. 44 G.H. Lewes, Rose, Blanche, and Violet, 3 vols (London: Smith, Elder, 1848) 2: 169. Further page references appear in parentheses. 45 Entry for Alfred Bunn by Nigel Burton, The New Grove Dictionary ofMusic and Musicians, ed. Stanley Sadie, 2nd edn. (London: Macmillan, 2001) 4: 604; entry 216 Notes

for Ignaz Moscheles by Jerome Roche and Henry Roche, 17: 163-4; entry for Henry Phillips by George Biddlecombe, 19: 598-9; entry for John Wilson, by Alexis Chitty, A Dictionary of Music and Musicians, ed. George Grove, 4 vols (London: Macmillan, 1899) 4: 463, 817. Subsequent information on these figures comes from these sources. 46 Entry for Michael William Balfe by Nigel Burton with Ian D. Halligan, New Grove, 2: 534--8. 47 Entry for John Wilson by Chitty, Dictionary, 463. 48 George Eliot, Daniel Deronda (1876), Cabinet edn., 3 vols (Edinburgh: Blackwood, 1878) 1: 67. Further page references appear in parentheses. 49 Brian Masters, The Life ofE.F. Benson (London: Chatto, 1991) 101. 50 Masters, Life, 99-104. 51 E.F. Benson, Dodo: A detail of the day (London: Methuen, 1893) 1: 31, 24. Further page references appear in parentheses. 52 For Edith Stain and Ethel Smyth, see Masters, Life, 105. 53 Angelique Richardson and Chris Willis, introduction, The New Woman in Fiction and in Fact: Fin-de-Siecle Feminisms, eds Angelique Richardson and Chris Willis (Basingstoke: Palgrave- now Palgrave Macmillan, 2001) 1, 12. 54 Masters, Life, 8, 88-106. 55 Peter Gunn, Vernon Lee (London: Oxford University Press, 1964) 114. 56 Vernon Lee, Baldwin: being Dialogues on Views and Aspirations (London: Unwin, 1886) 353. 57 Arnold, CA, 110. Original emphasis. 58 Arnold, CA, 104, 110. 59 Arnold, CA, 186. 60 Edmund Gurney, "Wagner and Wagnerism," The Nineteenth Century 13 (March 1883): 436, 449. 61· Edmund Gurney, The Power of Sound (London: Smith, Elder, 1880) 412. 62 For Wagner's music as lacking beauty and therefore invoking no pleasurable response, see Edmund Gurney, "Music and Musical Criticism," The Nineteenth Century 4 (July 1878): 66. 63 Vernon Lee, Althea: A Second Book of Dialogues on Views and Aspirations (London: Osgood, 1894) 63. Further page references appear in parentheses. 64 Angela Leighton, "Ghosts, Aestheticism, and 'Vernon Lee'," Victorian Literature and Culture 28.1 (2000): 4. 65 Peter Gunn, Vernon Lee (London: Oxford University Press, 1964) 112. 66 Oscar Wilde, The Picture of Dorian Gray (1891), ed. Isobel Murray (Oxford: Oxford University Press, 1981) 86. Further page references appear in parentheses. 67 Vineta Colby, Vernon Lee: A Literary Biography (Charlottesville: University of Virginia Press, 2003) 154-5. 68 My thanks to Meirion Hughes for a suggesting that nineteenth-century English concerts continued to be a place to make matches, despite the music establishment's promotion of concerts as solely about music and, sometimes, also about social improvement. I have seen support for this opinion in the fiction of the period. 69 E.M. Forster, Howards End (1910), ed. Oliver Stallybrass (Harmondsworth: Penguin, 1973) 44-5. Further page references appear in parentheses. Notes 217

Conclusion

1 James H. Johnson, Listening in Paris: a Cultural History (Berkeley: University of California Press, 1995) 228-36. 2 Joseph Bennett, Daily Telegraph (25 May 1889) n.p. Cited in Meirion Hughes, The English Musical Renaissance and the Press 1850-1914: Watchmen of Music (Aldershot: Ashgate, 2002) 149-50. 3 George Eliot, "Armgart" (1870), The Legend oflubal and Other Poems, Old and New (1874), Cabinet edn. (Edinburgh: Blackwood, 1879) 86. Scene 1, lines 196-200. Bibliography

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Ackerman, Bruce, 24 seating, 12, 21, 22, 38, 52, 182, 186 aeolian harp, 54, 76-7, 201n 67 socializing, 13, 15, 17, 45, 158, Aesthetic movement, 147, 153-5, 177 182-4, 187 aesthetic writing, 25-6, 27, 127, unruly, 15-17, 39, 98, 130 163-4, 188 see class-based audience behavior aesthetics, musical, 25, 28, 104 see concert-going Albee, Ernest, 31 audience, reading, see reading public Allis, Michael, 75, 136 Austen, Jane, 27, 95 Alsager, Thomas, 14 Austro-German music, 61, 62 ancient music, 158, 178, 180 performance practices, 82, 85, Andersen, Hans Christian, 89 105-07, 119 Anderson, Benedict, 8-9, 10, 18, 19, political metaphor, 5, 64-8, 78, 20,84,107 80-2, 163, 166 anthropology, 102, 137 Arendt, Hanna, 5, 24 Bach, J.S., 160, 162, 198nn 5, 7 Aristotle, 163 Bagehot, Walter, 115, 120 Arnold, Matthew, 5, 17, 28-9, 144, Bain, Alexander, 117-18 162, 171 Balfe, Michael William, 173 Hellenic and Hebraic, 157, 158, bands, 14,35,52,56,97,98 160-2, 163-4, 169, 170, 171 Banfield, Stephen, 104 poetry, 29, 165 banjo, 175 works: Culture and Anarchy, 160, bards,93,94, 124-5,162 161, 167, 169-71, 177, 179; Barry, David, 38 Essays in Criticism, 29; Literature Bashford, Christina, 13, 15, 62, 139 and Dogma, 29; On the Study of Beales, Derek, 112 Celtic Literature, 161-2 Beardsley, Aubrey, 155 Arnold, Thomas, 162 Beer, Gillian, 83, 127, 203n 10 associationism, see scientific Beethoven, Ludwig van, 75-6, 136, discourses 160, 162 Athenceum, 144 in fiction, 26, 106-07, 135, 139, audience, musical, 12, 26, 108, 114, 146, 159, 176, 182-3 136, 142, 157, 180 Beethoven Quartett Society, 14 conversation, 7, 12, 15, 39, 45, 49, Bellini, Vincenzo, Norma, 112 168, 174, 192n 54 Benhabib, Seyla, 5-6, 7, 24, 186, 187 divided attention, 43-4, 49, 53 Bennett, Joseph, 29, 187 encores, 15-17, 62, 123-4 Bennett, William Sterndale, 59, leave-taking, 14, 98 198n 6 listening, 12, 13, 14-15, 18, 28, 38, Benson, E.F., 27, 176 41,44-5,53,62-3, 65,97, 100, Dodo, 29, 131, 158, 173-6, 180, 185 146, 156, 158, 167, 168, 174, Bentham, Jeremy, 30, 42, 55 176, 178, 181-3, 186, 187 see Panopticon opera-going, 61-2, 112-15, 118-21, see Utilitarianism 127, 128, 174, 181-2 Berillon, Edgar, 49

236 Index 237

Berlioz, Hector, 27, 58, 59, 60, 135, class politics, 4, 15, 21, 57, 68, 151, 198n 8, 202n 75 86-7,88,157,158,182-4,189 "Euphonia," 26, 27, 29, 57, 77-82, "two nations," 15, 184, 192n 57 85, 107, 173, 185, 202n 75, class-specific culture, 101, 104--05 213n 71 see rational recreation Grand Traite d'instrumentation, 79, Clement, Catherine, 105 202n 74, 312n 71 climate theory, 28, 85, 95, 103-06, L'Art du chef d'orchestre, 67 108, 137, 186 Memoires, 132 Colby, Vineta, 164 Symphonie Fantastique, 13 Coleridge, Samuel Taylor, 24, 32, 55, see George Bernard Shaw 170, 171, 177 Bernstein, Susan, 4 collectives, formation of, 16, 25, 29, Bledsoe, Robert Terrell, 199n 15 42-3,57, 61,64,66,97, 100,101, Brahms,Johannes, 137, 142, 105, 108, 116, 147, 148, 149, 150, 159-60, 166 157, 168-9, 170, 176, 185, 186 Bright, John, 88 see audiences, listening Britannia, 59 see moral management Bronte, Charlotte, 26, 70 see survelliance Jane Eyre, 39, 41, SO Collini, Stefan, 147, 160 Shirley, 190n 2 Collins, Wilkie, 23, 24, 27, 52, 87 Villette, 27, 29, 30-55, 57, 63, 64, competition festivals, see festivals 129, 157, 163, 184, 185 composers, 70, 79-80, 146, 156, 158, Brown, Clive, 198n 12 172-3, 182 Bruckner, Anton, 75 female, 59, 63, 64, 89, 106-07, Bunn, Alfred, 172, 173 123, 175 Burke, Edmund,46, 177 ostracized, 131-55, 159 Burrow, George Man, 45 see under individual names Butler, Samuel, 27, 37 compare writer Erewhon, 29, 57, 58, 69-77, 79, 82, concert 107, 173 etiquette, see audiences going: 18th-century norms, 5, 6, Carlyle, Thomas, 17, 32, 35, 36, 12, 43-4, 45, 61-2; in Villette, 170, 171 40, 41-6,47,49,50-3 castanets, 176 hall, 7, 11-12, 30, 41, 43, 45, 46, Castle Society, 44 112, 186-7 Cavour, Camillo, 86 see mobs Celtic, 161-2 Concerts of Ancient Music, 139 music, 91-2, 93-4 concerts see English music Halle, 98 chamber music, 7, 61, 168 Harley Street, 15, 63, 146, 151 see Musical Union conductor, musical, 59, 63, 65-7, 68, Chartism, 4, 18, 86, 88, 95 79, 142, 147-8, 149, 150 Cherubini, Luigi, 132 compare Dickens Chew, Ada Nield, 22 Conolly, John, 34 choirs, 1, 19-20, 21, 59, 61, 66, 72, conservatories, 20, 41-3, 46, 78, 73, 74 202nn 74, 75, 86 Chorley, Henry, 60, 198n 12 contagion, 167 class-based audience behavior, 12, 14, Cornhill Magazine, The, 209n 42 16-17, 18, 62, 174-5, 186, 187 Costa, Michael, 148 238 Index

Cowen, Frederic, 212n 56 economics, 31, 38, 94, 132, 139, 153 Critic, The, 59 see market power Crotch, William, 104 see materialism crowds, Villette, 52, 53-4 Economist, The, 115 see mobs education, 61, 64-5, 158, 177-8, 187 Crystal Palace, 3, 13, 20, 98 music, 19, 43, 61, 64-5, 78 Cullen, M.J., 30-1 in schools, 41, 43, 139 Cummings, W.H., 21 see rational recreation Curwen,John, 1, 19,20,21 see sight singing Curwen, J. Spencer, 18 Elgar, Edward "Land of Hope and Glory," 1, 2 Daily Telegraph, 188 landscape, 28 Dainotto, Roberto M., 103 Eliot, George, 27 Dale, Catherine, 13 Adam Bede, 91 Dannreuther, Edward, 140-5 Armgart, 188 Dante, 87 Daniel Deronda, 7, 131, 150, 172, Darwin, Charles, 28, 178 175-7, 180 Davidoff, Leonore, 8, 10 Felix Holt, 190n 2 Davidson, John, 155 Middlemarch, 172 Davison, James W., 26 "Mr Gilfil's Love Story," 91 Decadence, 154, 155, 177 Romola, 87, 209n 42 Dellamora, Richard, 120 Ella, John, 13, 14, 139, 140 democracy, 94, 170, 183 Ellis, Katharine, 202n 69 De Quincey, Thomas, 27, 51-2,53 Elton, Arthur Hallam, 125 Dibble, jeremy, 142, 145 empire, 20, 70-4, 77, 82, 95-6, Dickens, Charles, 26, 58, 70, 129 99-100, 107 conducting, 23-4 encores, 15-17, 62, 123-4 Pickwickian, 26 English music, 99-101, 105 public readings, 22, 23, 117 Celtic elements in, 28, 144 works: Barnaby Rudge, 190n 2; Englishness, 28, 145, 187-8 Bleak House, 30; Hard Times, opera, 108, 127-8, 171-3 35-8; Oliver Twist, 35, 37; performance practices, 26, 106, 136, A Tale of Two Cities, 190n 2 148-9, 174 discussion groups, 19th-century, English Musical Renaissance, 3, 28, 203n 78 131-55, 160, 183, 187, 212n 56 Disraeli, Benjamin, 26, 37, 57, 58, Esterhazys, 96 67, 70, 170, 184 ethnomusicology, see empire Coningsby, 35, 190n 2 event, musical, 45, 53, 61, 97, 114 Sybil, 15, 35, 56, 57, 190n 2, 192n 57 fantasias, 135, 138, 146, 148, 150 Dissenters, 18, 86, 95 Faure, Gabriel, 178 divided attention, 43-4, 49, 53 female, see gender Donizetti, Gaetano, 87 festivals, music, 60, 65, 75, 80, 201n 59 Drawing Room Gazette, The, 75 fiction Dulckens, Louise, 15 as aesthetic, 25-6, 27, 127, 163-4, Dumas, Alexandre, fils, 110 188 Du Maurier, George, Trilby, 100, critical-rational writing, overlap 118, 167 with,26,27, 62,81, 153,181, Duncan, Ian, 94 185 Index 239

industrial novels, 35-8, 56, 61, Giddens, Anthony, 7-8, 9, 10 64,69 Gillett, Paula, 133 literary history, 88, 91, 157, Gladstone, W.E., 4, 88 163, 181 Glen, Heather, 39 as lyrical, 126-7 Glover, Sarah, 18, 19 national tale, 93, 205n 37 Gluck, Christoph Willibald, 78, 80 Romantic influences on, 27, 51, Orfeo et Euridice, 178, 180-1 54,88 Gobineau, Joseph Arthur de, 161 utopian, 57-8, 69-82 Gounod, Charles-Fran<;ois, Faust, 17 4 see modernism in literature government Field, Michael, 155 democracy, 94, 170, 183 Fielding, J.K., 37 monarchy, 115-16, 118, 119 Fingal's Caves, 69, 76-7, 201n 67 republic, 115-17, 118 Finn, Margot C., 86, 87 see imagination Fischlin, Daniel, 120 see music Forster, E.M., 27 Graham-Jones, Ian, 63 Howards End, 17, 29, 158, 182--4, Gray, John, 155 185, 186 Grieg, Edvard, 178 Fortnightly Review, 83, 88 group management, see collectives Foucault, Michel, 9, 33, 64-7 Grove, George, 12, 13 French music, 62, 102, 175-6 Gurne~ Edmund, 108, 178-9 Fuller, Sophie, 199n 23 Fuller Maitland, J.A., 212n 56 Habermas, Jtirgen, 4, 6, 7, 8, 9, 10, 11, 24,25,81 Gage, W.L., 64 Hall, Catherine, 8, 10 Galkin, Elliot W., 67 Halle concerts, 98 Gallagher, Catherine, 35, 36 Hall-Witt, Jennifer L., 61-2 Gardiner, William, 104 Hammerstein, Oscar, 2 Garibaldi, Giuseppe, 87 Handel, George Frideric, 1, 28, 69, 71, Gaskell, Elizabeth, 27, 104 74-6, 77, 142, 201n 59 Ruth, 30 Israel in Egypt, 75 gaze, the, see surveillance Messiah, 65-6 compare audience listening Prelude to the Suite in B-flat, 24 Gazette Musicale, 77 Harley Street concerts, 15, 63, 146, gender 151 fallen women, 30 harpists, female, 85, 88-95, 99, 101, female Bildungsroman, 86 106 female harpists, 85, 88-95, 99, 101, Haweis, H.R., 164 106 Haydn, Joseph, 96 female improvisator, 89-91, 107 Hazlitt, William, 31, 33 New Woman, 175,176 Hearder, Harry, 86, 112 see composers Hellenic and Hebraic, 157, 158, genius, 131-55, 158, 169-72, 175-7, 160-2, 163--4, 169, 170, 171 188 Hensel, Fanny (Mendelssohn), 64 geography, 28, 72, 80, 82, 85, 89-95, Hensel, Sebastian, 66 103, 107, 108, 120, 137, 164-5 Heraud, John A., 124 Germany, music of, 159-71 Herbert, Christopher, 71 New German School, 131, 132 Hollander, John, 165 see Austro-Germany Holroyd, Michael, 132 240 Index

Hook, Andrew D., 50 Keats, John, 76 Hornet, The, 133, 148 Kimbell, David R.B., 123 Horsley, Charles, 59, 60, 82, 197n 4, Kingsley, Charles, 35 198n8 Kolb, Katherine, 81 Household Words, 23 Hueffer, Francis, 3 Lampadius, Wilhelm Adolf, 66 Helmholtz, Hermann von, 28 landscape, see geography Hughes, Meirion, 137, 142, 143, 187, Lange, Carl, 182 216n 68 Langley, Leanne, 151 Hullah, John, 18, 21, 59, 82 Lasserre, Jules Bernard, 140 Huxley, T.H., 88 Leader, 87 leader, artist as, 17, 67, 107, 117, 131, imagination, 50-2, 54 136, 145, 147, 156, 158, 171, and government, 33, 57, 67-8, 175-7 115-16, 120 Leavis, Q.D., 22 imagined communities, see nation Lee, George]. Vandeleur, 133 imperialism, see empire Lee, Vernon, 27, 155 improvisation, musical, 151-2 Althea, 29, 158, 177-82, 183 improvisator, female 89-91, 107 Baldwin, 177 individual, the, 67, 132, 138, 141, Leighton, Angela, 179 146, 147-8, 150-1, 155, 156-84, Lewes, G.H., 27, 83, 84, 88 185, 187 Rose, Blanche, and Violet, 171-3 see genius Liberal Individualism, 147 Individualism, Liberal, 14 7 Lind, Jenny, 59, 60, 198n 9 insanity, 34, 45-6 Lipps, Theodor, 182 Irish music, 162 listening, see audiences Irvine, William, 133 Liszt, Franz, 75, 131, 142 Italy literacy and England, 86--7, 89, 92, 96--7, musical, 9, 17-21 101 written words, 8, 18-19, 22, 84-5, music nationalism, 89, 104 108, 112, 119 and opera, 62, 96, 102, 108, 110-29 see also nation performance practices, 5, 78, 80, 82, Lokke, Kari E., 90 85, 105-07, 119 Lovell, Terry, 40, 42 see Risorgimento Luhmann, Niklas, 9-10 Lunn, Henry Charles, 12, 25 Jacobus, Mary, 140 lute, 97 James, Henry, 163, 164 Lyotard, Jean-Fran~ois, 9 James, William, 182 lyre, 89 Jessopp, Augustus, 108 Joachim, Joseph, 159 Mackenzie, Alexander Campbell, 137, Johnson, James H., 186 212n 56 journals, 15, 17, 27, 175, 184 Macmillan's Magazine, 12 theory of, 25 Macpherson, James, 92-3 influence of, 11, 12, 25-6, 39, 211n Mahler, Gustav, 75 30 Mainzer, Joseph, 18 see under individual titles Malibran, Maria, 59, 62, 63, 198n 8 journalists, 26, 61, 77, 87, 124-5, 128, market power, 17, 23, 140, 141, 146--7 132, 133, 140, 186 Marx, Karl, 133 Index 241

Mason, William, 104 modernity, 7, 9-10 mass management, see collectives see also the sodal mass-music movements, 98, 137 monarchy, 115-16, 118, 119 see rational recreation Montesquieu, Charles-Louis de, 103 see sight singing Montgomery, Hugh, 154 materialism, 56-82, 132, 134-5, 142, monuments, musical, 75-6, 80, 201n 152, 185 59 see economics moral management, 34, 19Sn 22 Maturin, Charles Robert, 27, 92-3, 95 see rational recreation Maxse, Frederick, 88, 108, 128 More, Thomas, 70 Mazzini, Giuseppe, 86, 87, 93, 110, Morley, John, 88 116 Morning Chronicle, 15 McCartney, Paul, 2 Morton, A.L., 70 McClary, Susan, 121 Moscheles, Ignaz, 172, 173 McVeigh, Simon, 5, 44 Motte-Fenelon, Franr;:ois de Salignac McWeeny, Gage, 167, 169 de la, 42 medidne, see scientific discourses music melancholia, 45-6 as "event," 45, 53, 61, 97, 114 Mendelssohn, Felix, 58, 59, 60, 64, and governance, 21, 56-82, 117, 65-6, 82, 142, 149, 151, 198nn 8, 159, 169, 173, 185 9, 202n 75 and language, 102-05, 108, 115 Hebrides, The, 60, 76, 201n 65 nationalism, 28, 58, 85, 89, 99-108, Heimkehr aus der Fremde, 60, 198n 12 118, 128, 137, 183, 185 A Midsummer Night's Dream, 60 political events, relationship to, oratorios, 60 110-29, 172 Meredith, George, 27 political metaphor, 5, 64-8, 69-70, theories of fiction, 124-5 77,78,80-2,100,163,166 works: The Egoist, 96-7; Richard and sdentific discourses, 3, 4 Feverel, 163; Sandra Belloni, 17, and Utilitarianism, 36 27,29,83-109,110,111,114, as "work," 62, 63, 70, 78 11~ 11~ 11~ 11~ 12~ 12~ see audience 128, 129, 157, 163, 185; see under individual country names Vittoria, 27, 29, 83-4, 86, 87, musical monuments,?S-6, 80, 201n 88,95,107-09,110-29,149, 59 172, 181-2, 185 Musical Times, 12, 25, 39, 98, 140 mesmerism, 22, 49, 118 Musical Union, 13, 14, 62, 97, 139, Michael, jennifer Davis, 76 140 Middleton, jessie A., 59, 63 Musical World, 26 Mill, j.S., 31-2, 33, 55, 88 mobs, 18, 21, 25, SO, 169, 192n 57 nation at concerts, 15-17, 97-101, 105, self-determinism of, 83, 88, 97, 115, 129, 133, 169, 184 117 crowd psychology, 22, 23, 49, 101, theories of, 8, 17, 19-20, 25, 29, 84, 115, 117, 167, 179, 185 85,93, 120,186,188 and opera, 111-15, 119-20 see Benedict Anderson in theatres, 49-50, 54 nationalism, see music modernism in literature, 8, 27, 29, national tale, 93, 20Sn 37 131, 132, 146-7, 150, 153, 155, Nazar, Hina, 6 156-84, 186 Neue Zeitschri{t fiir Musik, 26, 76 242 Index

New German School, 131, 132 Studies of Great Composers, 136; NewWoman, 175, 176 Symphony No. 3, 187-8 Novello, J. Alfred, 12 Pauls, Birgit, 207n 8 People's Entertainment Society, 133 performance practices Oliphant, Margaret, 27, 203n 13 orchestra, 65, 138, 148-9 opera national: Austro-German, 82, 85, in fiction, 59, 84, 110-29, 172, 174, 105-7, 119; England, 26, 106, 181-2 136, 148-9, 174; Italy, 5, 78, 80, house, 7,11-12,52,108,111-15, 82,85,105-07,119 112, 123, 128, 130-1, 172, Peterson, William, 165 174-5, 186 Philharmonic Society, 65 libretto, 27, 108, 113-14, 119, 123, philistines, 131, 137, 152, 156, 177 124, 126-7, 143, 181 Phillips, Henry, 172, 173 orchestra, 78, 81, 130 physiological associationism, see sexuality in, 120-1 scientific discourses theories of, 105, 120-1 pianists, 42, 63, 79, 135, 146, 148, see audiences 149, 150, 151, 172 opium, 50-3 Plotz, John, 8, 11, 25, 26, 53, 54 oratorios, 61 Poland, 86, 135, 150 in fiction, 59, 60 Poovey, Mary, 31 see George Frideric Handel Poriss, Hilary, 123 orchestra, 61, 66, 79 Porter, Theodore M., 31 orchestra, 78, 81, 130 Prickett, Stephen, 161 performance and rehearsal primitive music, 154-5, 160, 167, 168 practices, 65, 138, 148-9 private concerts, 5-7, 86, 95, 146, 157, working-class, 59 168-9, 187 organists, 69, 96 see chamber music organs,69, 73, 77,78 Proceedings of the Musical Association, 25 Ossian, 76, 92-3 programming, 14, 16, 100, 101, 137, Our Comer, 133, 156 140, 141, 158, 179 Owenson, Sydney, 27 program notes, 12-14, 26, 28, 62, Wild Irish Girl, The, 91-2 97-8, 138, 182 progressive music, 131, 136, 137, 138, Paganini, Niccolo, 198n 7 141, 145, 147, 155, 159, 178 Palmerston's Police Bills, 42 compare English Musical Panopticon, 33, 64-5, 67, 78 Renaissance Parakilas, James, 43-4 Prometheus Unbound Parker, Roger, 111-13, 207n 8 Parry's, 137, 141-5, 153, 211n 41 Parry, C. Hubert H., 29, 137, 141-2, Shaw's, 141-5, 153, 211n 41 154, 187, 212n 56 Shelley's, 143-5 in fiction, 132, 135, 140, 141-3, public sphere, 4, 7, 10-11, 14, 15, 145, 211n 33 16-17, 18, 21, 24-6, 45, 55, 81, works: Cello Sonata in A, 140, 141; 127, 131, 138, 150, 189 Guillem de Cabestanh, 142; see also the social "I Was Glad," 1; Piano Concerto in F sharp, 142; Scenes Rachel, 47 from Shelley's Prometheus Unbound, rational recreation, 18, 38, 56, 68, 99, 137, 141-5, 153, 211n 41; 100, 133, 158, 169, 184 Index 243

Reade, Charles, 87 medidne, 34, 47, 55, 63, 69 readers, 129, 168-9, 176 melancholia, 45-6 as musical audience, 126-9 mental sdence, 117-18, 120, 186 reading public, 22-5, 40, 55, 81-2, and music, 3, 4 84, 108-9, 177, 188 nervous disease, 34, 63 see Charles Dickens philology, 161 see literacy physiological assodationism, 22, Rehding, Alexander, 75-6 83-4,95,104,110,178-9, Reeves, Sims, 16 181-2, 183 religion, 18, 31, 32, 57, 67, 70-2, 74, reflexive actions, 84, 95, 101, 108, 76-7, 159, 164, 166, 168, 170, 174 115, 117-18 repertoire, see programming see mesmerism republicanism, 115-17, 118 see moral management revolutions, 4, 5, 29, 45-6, 54, 82, score study, 137, 138, 142, 149, 174, 83-123, 143, 185 183 Richardson, Angelique, 175 Scott, John T., 103 Riemann, Hugo, 150 Scott, Walter, 27 Riley, Denise, 6 Waverley, 89, 91-5 Risorgimento, 86, 87, 108, 110-29 Scottish music, 104, 162 Rodgers, Richard, 2 sexuality Romantidsm, 10, 33-4, 54, 76-7, in opera, 120-1 88-95, 106, 145, 147, 165 and Wagner, 154-5 Rosselli, John, 112, 113 Shaw, George Bernard, 27, 60, Rossetti, D.G. and Christina, 87 108, 178 Rossetti, William Michael, 144 music criticism, 132, 133, 141, Rossini, Gioachino, 123 148, 209n 7 Rousseau, Jean-Jacques, 42, 95, works: "How to become a Musical 101-04 Critic," 153; The Irrational Knot, Royal Philharmonic Society, see 17, 133-4; Love among the Philharmonic Sodety Artists, 26, 29, 131-55, 156-7, Rubinstein, Anton, 159, 160 159, 172, 173, 185, 211n 37; Ruffini, Giovanni D., 27, 87, 111 The Perfect Wagnerite, 143; Ruskin, John, 17, 28, 136, 171 "A Reminiscence of Hector Russell, Dave, 18 Berlioz," 130-2, 135, 151, 152 Shelley, Percy Bysshe, 143-5 Said, Edward, 73, 74 Sheppard, Elizabeth Sara, 27 Saint Cecilia, 59 Charles Auchester, 27, 29, 30, 34, Sappho, 89 39,57-69,70, 78,80,82, 107, Savonarola, 87 129, 148, 149, 157, 163, 166, Sawall, Michael, 207n 8 173, 185 Schoenberg, Arnold, 159 Shuttleworth, Sally, 30, 39, 54, 68 Schumann,Robert,26, 76,178 sight singing, 18-21, 38, 56, 169, 182, sdentific discourses, 26, 28, 162, 167 192n 61, 200n 35 acoustics, 28 singers, solo, 59, 63, 78, 79-80, 85, 91, anthropology, 102, 137 94,96 evolution, 83-05, 95, 104-05, 115, singing classes, 56, 59, 166 116-17, 120, 132, 133, 136, Small, Helen, 22, 23, 38, 45 149, 158, 162, 177, 178, 179, Smith, Adam, 31 186, 203n 6 Smith, Alice Mary, 63 244 Index

Smith, Goldwin, 88 Tunnel tiber der Pleisse, 203n 78 Smyth, Ethel, 174, 176 Turner, J.M.W., 76 social, the, 6, 31, 37, 147, 179-80, 186, 189 uncanny, 76 see audience socializing Utilitarianism, 31-7, 47, 55, 57, 58, social body, 45, 54, 166, 169-70 64, 68, 186 socialism, 87, 133, 134, 147, 183, and fiction, 35-6, 48-9 186 and music, 36 solo performers, 61, 62 see Jeremy Bentham see virtuoso Spencer, Herbert, 28, 84, 88, 104-05, Varnhagen, Rahel, 5, 6 116-17, 136 Vaughan Williams, Ralph, 29 Spohr, Louis, 65, 159, 160, 165 Verdi, Giuseppe, 110-13, 122, 123, Stael, Germaine de, 27 207n 8 Corinne, ou l'Italie, 89-92, 94-5, La Traviata, 110 107 Nabucco, 113 Stanford, Charles Villiers, 137, Victoria, Queen, 2, 116 212n 56 Vincent, David, 18-19 Star, The, 133 Vincent, John, 67 statistics, social, 30, 35 violinists, 59, 63, 65, 94, 157-8, 159, Stephen, Leslie, 88 164-71 Stone, Donald David, 164 virtuoso, 61, 80, 82, 172, 188 Stone, ].S., 83, 95, 125 Stradella, Alessandro, 88 Wagner, Richard, 131, 135, 137, Stradling, Robert, 137, 143 142, 143, 145, 151, 153, Strauss, Richard, 75, 131 159-60, 178 Sutton, Emma, 12, 154, 155 primitive music, 154-5, 160 Swift, Jonathan, 163 works: review short stories, 26; Swinburne, Algernon Charles, 108 Ober das Dirigeren, 67 Sykes, Ingrid, 69 Wagnerism, 154-5 Symons, Arthur, 155 Wagnerites, 140, 154, 164, 175 sympathy, 32, 33-4, 53, 105, 113, 114, Walton, Peter, 2 126, 136, 179 Ward, Mrs Humphry, 27, 127, 178 Robert Elsmere, 27, 29, 155, 156-71, Tanner, Tony, 41, 45 173, 180, 185, 204n 13 Taylor, jenny Bourne, 34, 68 Weber, Carl Maria von, 202n 7 4 Tchaikovsky, Pyotr Il'yich, 75 Weber, William, 21, 44 Temperley, Nicholas, 197n 4, 198n 6 Welsh music, 135, 144, 162 Thalberg, Sigismund, 59, 80, 198n 7 Werner, Eric, 197n 4, 198nn 8, 9 theatre, 11, 30, 40, 44, 46-50, 54, 61, Westminster Review, 117, 124 112, 146, 154 Whale, John, 32, 35 Thomas, Arthur Goring, 212n 56 Wilde, Oscar, 147, 155 Thomas, Downing A., 102 Picture ofDorian Gray, The, 180-1 Thomson,]ames, 144 Williams, loan, 128, 203n 6 Thomson, John, 13 Willis, Chris, 175 Todd, R. Larry, 198n 5, 199n 14, Wilson,John, 172, 173 202n 75 Winter, Alison, 22, 65, 79 Tonic Sol-fa Reporter, 20 Wittgenstein, Ludwig, 25 Trumpener, Katie, 92, 205n 37 woman, see gender Index 245

Wordsworth, William, 76, 165, 201nn Young, Robert].C., 161 65,67 work, musical, 62, 63, 70, 78 Zeiter, Carl Friedrich, 59, 197n 5 World, The, 133 Zemka, Sue, 70 writer like composer, 3 7 as social leader, see leader