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PREFACE 1. Sally Mitchell, the New Girl: Girl's Culture in England, 1880

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PREFACE 1. Sally Mitchell, the New Girl: Girl's Culture in England, 1880 Notes PREFACE 1. Sally Mitchell, The New Girl: Girl’s Culture in England, 1880–1915 (New York: Columbia University Press, 1995): 29. Mitchell’s source is Florence B. Low,“The Reading of the Modern Girl,” Nineteenth Century 59 (1906): 278–87. 2. The Musical Times, December 1, 1881, contrasted the sophisticated music coverage in the Girl’s Own Paper with the situation of the “old days” when the “Musical Corner” featured in Eliza Cook’s Journal included “tea table talk” about songs of scant value; in contrast, the Times observed, articles in the Girl’s Own Paper are written by some of today’s best musicians (p. 264). The strikingly different presence of music in female and male education, both formal and informal, is illustrated by the infrequent coverage given music in the counterpart publication, The Boy’s Own Paper. In a review of thirty-eight issues (1884–1900) of the Boy’s Own Paper published between 1884 and 1900, I was able to find only a few articles on music: one each on how to play the guitar and xylophone, and one on the Westminster Choir School. The issue of June, 1893 featured a short story,“A Musical Degree,”in which a joke played on a musically inclined student shows him to be “the greenest fresher of the year.” 3. Christopher St. John was the name that the playwright and novelist Christabel Marshal chose for herself. In 1899, she worked as Secretary to Lady Randolph Churchill and her son Winston Churchill (Jessica Douglas- Home, Violet:The Life and Loves of Violet Gordon Woodhouse; London:The Harvill Press, 1996: 76). By 1905, Chris (as she liked to be called) St. John was writing music criticism for the Lady and continued to do so at least into the First World War years; her 1915 review of a concert that featured the harpsichordist Violet Gordon Woodhouse is cited by Douglas-Home (Ibid., 135). Notes 229 4. “It is as undesirable for him [the popular novelist] to be in the vanguard of informed opinion as it is for him to be in the rearguard of public opinion.” P. J. Keating, “Fact and Fiction in the East End,” in The Victorian City, edited by H. J. Dyos and Michael Wolff (London and Boston: Routledge & Kegan Paul, 1973): II, 585–586. CHAPTER ONE 1. On women and the piano, see Arthur Loesser, Men,Women and Pianos:A Social History (New York:Dover Publications, 1990; first published 1954); Mary Burgan,“Heroines at the Piano:Women and Music in Nineteenth- Century Fiction,” in Nicholas Temperley, ed., The Lost Chord: Essays on Victorian Music (Bloomington: Indiana University Press, 1989); and Richard Leppert, “Sexual Identity, Death, and the Family Piano,” 19th- Century Music, XVI/2 (Fall 1992): 105–128. On professional pianists and composers of piano music, see Nancy B. Reich, “European Composers and Musicians, ca. 1800–1890,” in Karen Pendle, ed., Women and Music: A History (Bloomington: Indiana University Press, 1991): 109–12, 116–17. 2. Burne-Jones’s comments on the piano were quoted in exhibition materi- als accompanying a display of his drawings and watercolors held at the Tate Gallery: summer, 1993. On his work on piano design for Broadwood, see Michael I. Wilson, “The Case of the Victorian Piano,” Victoria and Albert Museum Yearbook no. 3, 1972: 140–141. Roslyn Rensch, The Harp: Its His- tory,Technique and Repertoire (New York:Praeger, 1969). 3. Cyril Ehrlich, The Music Profession in Britain Since the Eighteenth Century:A Social History (Oxford: Oxford University Press, 1985), 102. 4. “A good harp costs as much as a grand piano, and a low-priced harp is al- ways dears in the end.” Flora Klickman, “Musical Notes,” Sylvia’s Journal (October 1893): 564. 5. H. R. Haweis, Music and Morals (New York: Harper and Brothers, 1877), 103–04. 6. Jim Samson, “Chopin Reception: Theory, History, Analysis,” in Jim Samson and John Rink, eds., Chopin Studies, 2nd ed. (New York: Cam- bridge University Press: 1994), 10. Chopin’s preludes were typically de- scribed in such collections as “pearls” and the etudes as “tuneful gems.” Ibid. 7. Charles Hallé, The Autobiography of Charles Hallé with Correspondence and Di- aries, ed. Michael Kennedy (London: Elek, 1972), 54. Selections of Chopin’s shorter works, especially the nocturnes and preludes, were available in an- thologies for fairly advanced pianists, such as the three-booklet series de- scribed by Derek Carew, Well-Known Piano Solos, How to Play Them With Understanding, Expression And Effect. Carew writes that the “educational”text that introduced the music in this collection appeared to have as its purpose the imparting of a “veneer of ‘expression’ and technical proficiency but 230 Musical Women in England, 1870–1914 without soul-searching. Blandness rules.” See Carew’s “Victorian Attitudes to Chopin” in Jim Samson, ed., The Cambridge Companion to Chopin (New York: Cambridge University Press, 1992), 230. The Musical Gazette of De- cember 4, 1900, commented that the granddaughters of women who, in girlhood, played the “accomplishment” piece,“The Battle of Prague,” now “trundle through Chopin.” 8. Louise Mack [Mrs. Creed], The Music Makers: the Love Story of a Woman Composer. (London: Mills and Boon, 1914). An Australian author, Mack lived for much of her life in England and Europe. 9. Ibid., 115.The G minor Ballade, opus 23, was one of the technically de- manding works available in simplified and abridged editions. Samson, “Chopin Reception,” 10. 10. Jeffrey Kallberg,“The Harmony of the Tea Table: Gender and Ideology in the Piano Nocturne,” Representations 39 (Summer 1992): 102–133. See pp. 111–113 on efforts to place Chopin’s music in the tradition of great works by emphasizing the “masculine”and minimizing the “feminine”character- istics of his music. The Polish-born, American pianist Arthur Rubinstein (1887–1982) is regarded as one of the greatest interpreters of Chopin. See Nicholas Slonimsky, Baker’s Biographical Dictionary of Musicians, 8th ed. (New York:Schirmer, 1992). 11. Huneker’s 1900 work, Chopin the Man and His Music, is quoted in Kall- berg,“The Harmony of the Tea Table,”111–112. On Richardson’s Leipzig experience, see “Some Notes on My Books,” Virginia Quarterly Review (Summer, 1940), reprinted in Southerly (Vol.23, Number 1, 1963, ed. G.A. Wilkes (8–19). Henry Handel Richardson, Maurice Guest, 2 vols. (1908; London:William Heinemann Ltd., 1929), 1:157. 12. George Grossmith, A Society Clown: Reminiscences of George Grossmith (Bris- tol: J.W.Arrowsmith, 1888), 36. 13. See Stephen Banfield,“The Artist and Society,”in Nicholas Temperley,ed., The Romantic Age 1800–1914, The Athlone History of Music in Britain (London:Athlone Press, 1981), 12.Anton Rubinstein (1829–1894) was an eminent Russian pianist, conductor, composer, and teacher (Slonimsky, Baker’s Biographical Dictionary). 14. M. Pullan, Maternal Counsels to a Daughter (1855), 81. Quoted in Jehanne Wake, Princess Louise: Queen Victoria’s Unconventional Daughter (London: Collins, 1988), 90. 15. Adam Smith, An Inquiry into the Nature and Causes of the Wealth of Nations, ed. Edwin Cannan, 6th ed., 2 vols. (London: Metheun and Co., 1950), 1:119–20. 16. Bettina Walker, My Musical Experiences, a new ed. (London: Richard Bent- ley and Son; New York:Novello, Ewer and Co., 1892), 33. 17. A highly respected pianist and composer, Henselt (1814–1889) taught in Russia for 40 years, where he held important Court positions, trained “a generation of Russian pianists,”and developed a technique for piano study that Walker found pedagogically valuable and inspiring. (Slonimsky, Baker’s Notes 231 Biographical Dictionary). In the preface to the “new edition” of her autobi- ography,Walker mentions the interest that the first edition of her book evoked in Henselt’s method (viii). 18. See chapter 6 for a detailed discussion of the career of the woman singer. 19. Edna Lyall [Ada Bayly], Doreen: The Story of a Singer (London and New York:Longmans, Green and Co., 1894), 127. 20. Ibid., 287. 21. Arthur Jacobs, Henry J.Wood: Maker of the Proms (London: Methuen, 1994), 142. 22. See chapter Seven for exceptions to this generalization: the small number of female wind instrument players were well compensated and Rosabel Watson took pride in the competitive salaries she was able to pay the members of her all-women’s orchestra. 23. Christopher Wood, Victorian Panorama (London: Faber and Faber, 1976), l32. 24. Spectator, 22 May 1875, 660. I am grateful to Pamela Gerrish Nunn for sending me a copy of this picture and of the critical commentary on it. 25. London Times, 24 May 1875. 26. Illustrated London News, July 1875. 27. Ehrlich, The Musical Profession in Britain Since the Eighteenth Century, l08-l5. 28. Sally Mitchell, Daily Life in Victorian England (Westport, Conn.: Greenwood Press, 1996), 269. 29. Martha Vicinus, Independent Women:Work and Community for Single Women, 1850–1920 (Chicago: University of Chicago Press, 1985), 27. 30. Ibid., 26. 31. “Women Who Work: no. xvi.—Their Numbers and Employments,” Pall Mall Gazette, 3 October 1884. 32. Jane Crisp, Jessie Fothergill, 1851–1891: A Bibliography, Victorian Fiction Research Guides II (St. Lucia,Australia: Department of English, University of Queensland, 1980), 5. 33. See Virginia Blain, Patricia Clements, and Isobel Grundy,eds., The Feminist Companion to Literature in English:Women Writers from the Middle Ages to the Present (New Haven:Yale University Press, 1990), and the biography by Beatrice Marshall, Emma Marshall, A Biographical Sketch (New York: E. P. Dutton, 1901). 34. “In alt” signified notes printed above the treble staff lines. 35. Jessie Fothergill, The First Violin:A Novel (New York:R. F.Fenno and Co., 1904), 20. 36. Crisp, Jessie Fothergill, 20. 37. Fothergill, The First Violin, 311.
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