Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Dr Adèle Commins, Auteur(s) Dundalk Institute of Technology, Ireland

Titre de la revue Imaginaires (ISSN 1270-931X)

22 (2019) : « How Popular Culture Travels: Cultural Numéro Exchanges between Ireland and the United States »

Pages 29-59

Directeur(s) Sylvie Mikowski et Yann Philippe du numéro

DOI de l’article 10.34929/imaginaires.vi22.5

DOI du numéro 10.34929/imaginaires.vi22

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Éditions et presses universitaires de Reims, 2019 Bibliothèque Robert de Sorbon, Campus Croix-Rouge Avenue François-Mauriac, CS 40019, 51726 Reims Cedex www.univ-reims.fr/epure with an an USA between Ireland fin the and de siècle with the culture during ular circulation of the pop understanding and study foricant case examining Symphony.“Irish” Stanford’s Symphony “Irish” (1887) provides a signif Stanford’s music comic O’Brien his opera America: in Shamus audiences. Two works when significant are consideringthe reception of of Stanford’s significance the and century national identity American for twentieththe of Americaoutputturn the in theat reflectedin media as a proposed 1914, to visit in America reception the of some of musical his century. twentieth of the at turn the British society and identitiesevolving American both in (mis)understanding the and cultural the existed that highlight media reception the America, of Stanford’s music American the in reviews and he acosmopolitan never Although ofin many society diasporas. visited of national importance the identity and of century twentieth the start USA the and between Ireland, England circulation at of the the culture perspectives on composer the music. his and Such highlights astudy also reception the birthplace, of Stanford’s music provides America in fresh context occasionalreferencesthe of work with his England, in Irish to his theOften in British consideredRenaissance. Musical figure in only tral Watchmen on Walls the of Music Musichis American Press the in of Charles Villiers Stanford and This article article presents This a introductionbrief to andStanford on focuses born composerIrish Stanford Charles Villiers (1852–1924) acen is Across Atlantic: the Reception Dundalk Institute of Technology,Dundalk Ireland Introduction Dr Commins Adèle and the the and - - -

29 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press erence work to this related and source material rogate attendance at for performances actual “sur as mustsuch understanding bedeveloped journalist an the utilising composer ofmusic. his Stanford’s and case the In works considered herein, of musical events. Critics played role reception the a crucial of in a history accounts numerous vivid and clear ideastic with music giving journalists werepamphlets journals medium and for a central expression the of artis nineteenth shaping century, the in in musical newspapers, and history However, often be can biased. views importantMusic these criticism was ings, all informed by recent the all ings, literature concerning Stanford, of score the examination where and, possible, performances record and an musicological through analysis further with mustmaterial bebalanced rarely reflect considered reflection. audience ashort period in and forence, of written time are aparticular noted by Jocelyn critic such theatre Clarke, sci not are reviews exact an tionally have windows as ortionally of mirrors been society. calendars, viewed as reception critical ofthe Stanford’s music Newspapers, America. in tradi providing athorough music of also review the while of time, critics the opinionsfor the by evaluation musical tastes of assessing an of American pers. Such quotation extensive from an of range newspaper allows reviews newspaper upon research drawing a large newspa collection of American Musical Renaissance, Musical Shamus O’Brien ofto Shamus omit examination an context. diasporic and paperlonial For of Ihave this purposes the decided emphasis identities on apost-co constructing negotiating in and Irishness 7. 6. 5. 4. 3. 2. 1. of the public. the of opinions opinion critical journalistic and helpedthat shape opinions the for Musicology in Ireland in Musicology for The methodology for this article primarily involves and archival Thearticle primarily methodology this for a Nationala Music Meirion Hughes Stradling, The &Robert English Musical Renaissance, 1840–1940:Constructing 7/11/2020), p. 28-58; and A.Commins, op. cit., 2012. Postgraduate Journal Musicology: to Professor?: Conservative Prodigy Reception Issues of Charles Villiers Stanford”, Maynooth Rodmell, Jeremy Dibble, Charles Villiers Stanford: Man and Musician, Oxford, Oxford U.P., 2002;Paul Essays on Contemporary Irish Theatre, Peter 2000. Lang, Jocelyn Clarke, “(Un)Critical Conditions”, inEamonn Jordan (ed.), Theatre Stuff:Critical 1914: Watchmen of Music, Aldershot, Ashgate, 2002. Meirion Hughes in his study entitled Development John critic. See the Alexander Fuller-Maitland, The Musician’s Pilgrimage: A Study in Artistic The watchmenterm wasthe first walls on used byFuller-Maitland the role todescribe of 2005,http://hdl.handle.net/10379/5445Carysfort, 7/11/2020),p. 208. (last accessed Morash Chris Irish (eds.), Theatre on & Tour: Irish Theatrical Diaspora Series, Dublin, Patrick Lonergan, “Druid Theatre’s Leenane Trilogyon 1996–2001”, tour: inNicholas Grene , 1998,p. 290.DOI: 10.2307/947379 Rosamond McGuinness, “How aNewspapers”, to Read Musicologie de Revue Stanford and his Music inAmerica”, Paper at Read 14 the was subject the of aconference AdèleReception paper: Commins,Charles “The of Villiers of focus the alaterand be will article. Initial findings the on reception of Shamus O’Brien The study O’Brien the of American reception of Shamus Charles Villiers Stanford Charles 4 The use of such a is methodology withoutnot As challenges. odn mt,Edr o,19,p x.It, London, was subsequently Smith, Elder, up taken by &Co., 1899,p. , New York, Manchester U.P., 2001. 7 and the performance of the and Western Music Art in , St Patrick’s Drumcondra, College Dublin, 2016. , 1,http://mural.maynoothuniversity.ie/9455 (last accessed , Aldershot, Ashgate, 2002;Adèle Commins, “From Child The English Musical Renaissance and the Press: 1850– 5 Thus, an examination of this source this of an examination Thus, , although there ref passing is , although ” . 3 Meirion Hughes noted has . goes beyond the scope of beyond goes scope the article this 1 th

Annual Conference of the Society 6 the British British the 4 (2), , 84 ------2

30 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press with notablewith completed studies recent in decades, context. cultural the ering consid audiences of also tastes American while the at time, that ascertain of performances examination of Stanford’scal music helps and America in Therefore, theof newspapersurvey coverage of Stanfordcriti a facilitates early twentieth centuries. The centuries. twentieth early latethe witnessedthrough to 1920s 1880s formed well late received and the nineteenth in and regularly America in Stanford’s that research presentedthe article music this in per was on contrast, concert less it In regularly fromtured programmes. clear is 1924 in death his posthumously, and up until century music his and fea from performers,England conductors press late the the and nineteenth in works. siderations or perception of nationality the his some in of of Irishness his press, many American of the which lead in back of to writings con variety Noteworthy centuries. tieth themes evident are upon of the examination formances late of the music twen nineteenth early in his and undertaken demonstrateper articles astrong interest per music significant his in with StanfordAlthough never of travelled newspa examinations to America, of reception the of Stanford music his and on sides both of Atlantic. the music orderhis in America in to present account accurate and amore full there aneed is to England, consider in based reception of Stanford and most performances of music his took he that and was place England in erence that acknowledging commentaries. to Irish While and European reliance on perceptions some of press music his English ref with the in important roleimportant development the in of for anarrative awork’s reception. relevant and tant to Stanford scholars today. Newspaper play reviews an coveragethe of performances of Stanford’s music impor is America in potential the bias acknowledging of reviews, While limited. are America Stanford in est scholarship, accounts of detailed Stanford music his and in America at the turn of century. twentieth the at turn America the 10. 9. 8. Although there been has arenewedAlthough interest Stanford music in his and There a developing was towardsnegativity Stanford’s musicin 7/11/2020). National University of Ireland, 2012,http://mural.maynoothuniversity.ie/6997 (last accessed for Piano and A Musicological op. 163 op. 179: Retrospective, unpublished PhD, Maynooth, J. Dibble, , p. 306–348.jrma/fkm008 Britain, 1870–1920”, Journal of the Royal Musical Association , 132(2),2007,DOI: 10.1093/ 9–28;and Langley, Leanne Aldershot, Ashgate, “Agency 2006,p. and Change: in Berlioz Rushton& Julian and Assimilation Early in the English Reception of Mozart’s Requiem”, Cowgill in Rachel and music. their for See example “‘Hence, Cowgill, Rachel intruder, base hence’: Rejection writersOther have examined role the of newspapers reception inthe of history acomposer 7/11/2020). ie/2577, last accessed of Ireland, study 2011 is a useful on newspaper research (http://mural.maynoothuniversity. Study of Dublin Musical Life 1840–1844’, unpublished PhD, Maynooth, National University Catherine Ferris, ‘The Use of SourceNewspapers as a for Research: Case Musicological A ; P. Rodmell, op. cit. (eds.), (eds.), Europe, Empire and Spectacle in Nineteenth-Century British Music, ; Adèle Commins, op. cit. 8 Despite inter growing the Charles Villiers Stanford’s Preludes 10 there has been an over there been has an ------9

31 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press sector. immigré theatregoers Irish the receptions American and ing from regular sented press. the in ate Stanford’s reflectthe music on reception critically and narratives pre ter is an enthusiasticter an is Irishman.’ not is pronounced as alism Dr Stanford. of The colleague, that is lat his as national identity, one 1903 in writer noted ‘Arthur Sullivan’s that nation developing its own post-colonial identity. Stanford’s Indeed, highlighting Grieg Edvard (1843–1907) Norwegian and still America an in popular are Synge’s Synge’s Theatre’sfirst America including to tour works assuch John Millington cussions on role the place, Abbey of the and national were theatres taking the workthe of composers Antonin such Czech Dvořák the as givening it that aperiod is when concerts of national music, featuring compositions, across favourable Europe, with comments about infused many of Irish his Symphony performance of the “Irish” his and success with England in tial composer Irish Despite placed America. an as in importance on ini him acknowledge spread the of music his the acrossrecognise and Atlantic the rolethe which Stanford music his and played there aneed is England to in press.music Given American the in much so that been focus has given to increased presence an in saw impetus of areal mentionstury of Stanford’s two peers.first decadestwentieth Thethe cen of English tocritics their perceptions similar of and contrasting Stanford both bywith American numerous references to Stanford’s music America in concert in listings 15. 14. 12. 11. P. Rodmell, motion reception and of much music America. in issue of the strates, acomposers’ identity pro to the central remains colonial and readings of music political his the paper but, demon this as perspectiveination removes American of Stanford an through some of of consumption globalisation musicgrowing transatlantic of and culture. our attention perceptions to American of music his Stanfordthe as reflects interest music in decline turning it his at worth in is time England that in works, not did of century. the continue at turn Given England the in the 13. By stepping sphere, outside exam an cultural of Irish British and the Real Thing”,Real in Nicholas Grene Chris & Morash op. cit (eds.), ., p. 35–50. London, Thames & JohnHudson, 2003, p. 42; “The in The America: Abbey P. Harrington, Christopher Fitz-Simon, loc.gov/resource/sn83030214/1903-04-19/ed-1/?sp=25 7/11/2020),p. 9. (last accessed Eisteddfod – Notes and Programmes”, New York Daily Tribune, 19April 1903,https://www. Anon., “Sir Alexander Mackenzie and Music Festivals inCanada–Prizes at aWelsh The For amore indepth discussion about national and nationalist music Philip V. Bohlman, see Four Courts, 2005,p. 68-86. examination of music art and ethnicity inThe Progress of Music in Ireland, Dublin, Irish musicologist White Harry develops acomparison of Stanford and inhis Dvořák ABC-Clio, 2014. 15 Thus, America Thus, providesdifferent a which in context to appreci Playboy of the Western World took place 1911, in differ receiving

Music of European Nationalism: Cultural Identity and Modern History, Santa Barbara, 11 op. cit.; J. Dibble, op. cit. reception of compositions, these many of other his like The Abbey Theatre, Ireland’s National Theatre: The First 100 Years, 14 Simultaneously, circles, theatre dis in 12 This is not This surpris (1841–1904) 13 ------

32 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press of Brahms and he and foundof Brahms Stanford’s work to betoo academic. [Stanford]him on praise” highest account the of interest music his the in Wagner a known he was enthusiast role his in and at Times the roleing reception the of music. in his history Thecritic Francis Hueffer not have helped opinions the dismiss which of played critics the adefin Stanford’sand on views composition conservative traditional and would It for a difficult was composerVictorian taken seriously in tobe England values enshrined in his work”. his in enshrined values academicism appreciate and solid the conservative (Schumann-Brahms) mayed contemporary with music, trends in he to learned ignore Stanford’s However, Hughes points out dis “as became that increasingly Bennett lacking emotionlacking oftendismissive was and about Stanford’s compositions. unproven theories”, he believed Stanford that too was coldly academic and [and] English reject distinctly modern to and “conservebility everything music responsi of the hands” and English future their immediate “the in the 1897), public affected perceptions his of music. workto the of predecessor, his composer German Johannes Brahms (1833– music. music His by then, was, termed traditional, of who critics were more compositional concerned the with design of the acomposer, as to market himself ability he sufferedthe hands this at for demonstrates duality his of contexts this audiences. and a variety While to which audiences relate could easily but continued also to compose for notablealso Stanford and advantage the recognised of composing music 20. 19. 18. 17. 16. 22. 21. century and unfortunately, and century it proved has these dispel beliefs. to difficult too much academic an were later the down laid in decades of nineteenth the British Musical Renaissance. work the in by which national had been composers undertaken the during only found Stanford’s fault with of style composition, but faith he had little Daily Telegraph had Stanford named one as of five composers who had Changes in Stanford’sChanges in compositional period are this practice during Ibid. expressive and dramatic power consigned it to second the rate. M. Hughes, Despite of op. cit. his aspects technical , p. 25. music, respecting the lack the of p. 203–204 and G. B. Shaw, Music in London,London, Constable &Co., 1949,p. 303–308. music. G. B. Shaw, See Music in London 1890–1894,3vols, London, Constable &Co., 1932, Shaw frequently referred to Stanford as “Professor” Stanford of inhis reviews Stanford’s tois examine not works.” their necessary noted that “as none of [Stanford, them and Parry Mackenzie] has invented an it style original forSee example Davey, Henry Music English of History Association, Geoffrey Bush, Bennett: “SterndaleSolo PianoThe Works”, Proceedings of the Royal Musical University (1856-1875),was perceived as an inferior imitator of Mendelssohn inEngland. See In a similar vein,Professor Sterndale had who been Bennett, of Music at Cambridge music with Stanford which sometimes is associated. also commitment to music art a Germanic tradition rather than genre the of Irish traditional In instance, this term“traditional” the refers to Stanford’s approach to composition and cited inM.Hughes, op. cit., p. 51. compositiona modern sane as so this”. Anon., See “Article”, Daily Telegraph, 19January 1906 In of his review Stanford’s SixthSymphony he commented that it was “pleasant to with meet Ibid. , p. 27. For information further on Hueffer’s views on English ibid. see music , p. 47–49. 91, 1965,www.jstor.org/stable/765967 5/11/2020),p. 85–97, (last accessed p. 85. 20 22 Although Joseph Although who Bennett worked at

, London, J. 1895,p. 449. Curwen, He 17 Claims that Stanford that was Claims 16 while his dedication his while 19 Hueffer not not Hueffer

, p. 25–30. “denied “denied 21 18 - - -

33 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press 27. 26. 25. 24. oet Papperitz Frederick and soaked Leipzig and Berlin in and Kiel Robert compositioning piano and eminent lessons teachers with Carl Reinecke, he travelled England period early continent, to in his the During tak poser, he soon and many demand of roles was career. in in these his in early audiences work his performer, organist, through as conductor com and University. It here attention to was the came he that quickly of English Cambridge University into soon was musical at and assimilated life the dimension to Stanford’s formative Dublin. in years repertoire. experiences European would Indeed, their have extra added an to piano of a range in technique him ‘standard’ exposing grounding while Leipzigin or London ensured Stanford they that and had a thorough training. Some of piano Moscheles his teachers Ignaz training. had with studied have ensured would he that city received certainly the in possible best the Stanford’s background, privileged his father’s musical experience circles in hold Stanford that music would begin lessons age. early Through from an Stanford the experiences in house rich cultural the amidst prise that then to have aformativedirection. influencefuture is his musical It on no sur finest musicians from that time including finest from thattime musicians Joseph Robinson Stanford had numerousmaking. to many of hear opportunities Dublin’s Stanford to the homecalled venue apopular which was for salon music Prescott Stewart, a range ofa range groups, performing Academy of Royaling Irish the of Music performed 1848, in in regularly the in found and instrumental had been andcellist a fine bass was himself affordedrich a education.musical Stanford’s father, John Stanford, who 23. “distinguished amateur pianist”. amateur “distinguished Introducing Stanford Charles Villiers /Stanford Context in works. London and Leipzig and wrote a variety of works for pianosolo in addition to some chamber of Vienna’s most popular pianists and his career He had begun. as avirtuoso taught piano in Ignaz Moscheles (1794–1870) was a pianist and composer. By age the of twenty he was one made aprofessor at Royal the Irish Academy of Music. He was knighted in1872. He was appointed Professor of Music inTrinity Dublin College in1861,and in1871he was PrescottSir Robert Stewart (1825–1894) was an organist, conductor, teacher and composer. to 1888. at RIAM the from 1856to 1876and conductor of Dublin the Musical from 1876 Society Dublin cathedral choirs and played Dublin inthe Philharmonic Orchestra. He was ateacher Joseph Robinson (1815–1898)conducted Ancient the until Concerts 1863.He sang inthe 10 November 1900, p. 3. Annie Patterson,See “Eminent Dublin Musicians: Miss Margaret O’Hea”, Weekly Irish Times, 20 July 1880,p. 2. Leaving Ireland in 1870 Ireland in Leaving Stanford enrolled astudent as of classics at Born into a Protestant family in 1852Born into in aProtestant family Ireland Dublin, Stanford in was “Article”, 2; Anon., “Article”,18 February 1848, p. “Article”, lifetime and he had main taken inmany parts productions for inDublin. See example Anon., John Stanford’s success as amusician inDublin was well-documented by press the during his Saunders Newsletter 1947,p. 2;, 10 December Anon., “Article”, Saunders Newsletter, Orchestra 26 and all of this exposure to exposure music of this from ayoung all and age was , 12 December 1963, p. 166; and Anon., “Article”, 1963, p. 166; , 12 December 23 while Stanford’s while mother noted was a as 24 Professional musicians visiting often Saunders Newsletter, 2; Anon., 18 April 1948, p. Dublin Daily Express, 25 and Robert and 27 - - - - -

34 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press abroad.” Forpositional styles. and practices Stanford spirit “the of adventure was period an This appreciationof tuitionprivate nurtured com Germanic of family at a time when Dublin was a city of British Empire. when acity the at was atime Dublin family of a regional British identity” Hunt composers notes “Irishness” of the “was often that certain as seen part Britishness; and holding and Britishness; beliefs, unionist Rather, notes, musicologist White as he adifferent is within Harry shade predominantfrom the or nationalist republican of imagination Irishness. ductor, composer teacher. and wouldgreater offerhim exposure for his andmusic potential workas con up all of the musical experiences available to him during these periods. of these musical experiences during the available toup him all 34. 33. 29. 28. ures ofures British Musical the Renaissance. atic symphonic and works, one as Stanford known of fig was leading the genres, including church music, chamber, oper vocal, solo instrumental, 1902. musical of director notable choirs in orchestras and he knighted and was University Royal College the of and Music, London conductor as and and appointmentsmusical earning life Professor as of Music at Cambridge poser, musician, accompanist conductor. and into Stanford English settled in left Dublin 1870. soon a He reputationearned director,as musical com when it suited. Stanford’s Ireland altered was association when with he identity, adual and assume as “British” and between “Irish” alternating develop music country. oftradition the the art in abroad, left having Irelandin 1870, others stayed while Irelandin to 30. 32. 31. Stanford was Irish by birth but his Irishness is distinctively different distinctively but is Irishness Stanford by his Irish birth was A prolific composer of of overtwo variety a hundred works spanning See JurgenSee Schaarwachter, “Chasing aMyth andBritish aLegend: ‘The Renaissance’ Musical The British Renaissance Musical from refersperiod the aroundto 1880 until after World War I. p. 61. Ashgate, 2014,http://www.open-access.bcu.ac.uk/9355 7/11/2020),p. 53–68, (last accessed John O’Flynn and Mark Fitzgerald Music (eds.), and Identity in Ireland and Beyond, Surrey, Re-appropriating Early the Twentieth into Century a Chronology of Irish Composition” in Edmund Hunt, “‘A National of School Music Such as World the has Never Seen’: PlunketHarry Villiers Greene, Stanford Charles was from 1874to 1876. he worked at Hochschule the Musik. für Stanford’s of inLeipzig instruction and period Berlin 1851. Friedrich Kiel (1821–1885)was conductor, aGerman composer and violinist. In Berlin studied music at he was appointed Leipzig the Conservatory teacher of harmony there in PapperitzRobert (1826–1903) teacherwas a German-born of organ and piano. Having Orchestra and Professor of Composition and Piano at Leipzig the Conservatory. Benjamin number of eminent positions in Germany including directorship the of Gewandhaus the Carl Reinecke (1824–1910)was composer, a German conductor and pianist. He held a Selected Proceedings: 1 Part Selected (eds.), Axel “Irish Klein, Composers and Foreign Education”, inPatrick F. White &Harry Devine Independent Ireland Joseph John The Lee, Modernisation of SocietyIrish 1848–1918: From the Great Famine to of Music in Ireland , Dublin, Four 2005,p. 80. Courts, understanding Irishness ineither or ethnic nationalist, or musical, indeed terms. The Progress WhiteHarry Stanford describes as “a committed unionist”, noting complexity the of 29 Indeed, Stanford was the first Irish composerIrish Indeed, Stanford first the was to study music Irish Musical Studies V: The Maynooth International MusicologicalConference 1995: , Dublin, &Macmillan, Gill 2008. , Dublin, Four 1996,p. 271. Courts, 33 and this, to some extent,Stanford this, and allows to 34 , London, Edward Arnold, 1935,p. 38. Like many of contemporaries his Like 31 growing up in an Anglo-Irish Anglo-Irish up an growing in 30 Being based abroad based Being 32 Edmund Edmund 28 - - - - -

35 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press ret . Moeran (1894–1950), J. Ernest most English-born notable composers, with the trast with exception of a different title. different a which were volumenot the airs recognised in having already but under Petrie condemned and the Collection in for airs him including English anonymous An critic in collection] proved were choice”. they their that in extremely unfortunate stated result “the [of that appointingKillarney Stanford editor as of the reviewed publication the Ireland critically in aFather and Brennan, of title ortitle text. of folk melodies many and songs which had references to the Ireland in Concertino, Phaudrig Irish Crohoore,An O’Brien, arrangements Shamus Fantasies for Sketches Violin Irish Piano, and Six for Violin Piano, and Symphony, “Irish” Rhapsodies, for Four Dances Irish solo piano, Irish Six include reference homeland. Irish to his These includeworks Irish his ration from were and involved folksong revival. English the in works were at programmed venues who across and inspi drew England who England posers received in commissions important the whose and (1872–1958) Gustav and Holst (1874–1934) took over noted the as com generation of younger British composers such Vaughan Ralph as Williams many expressing sentiments harsh very with about music. his The next decades of century. twentieth the Stanford sufferedthe hands critics, of at gogue composer and but music his went quickly out of early fashion the in 1935), his rolein as peda figure important Stanford an as recognised was (1848–1918)including Hubert Parry Mackenzie Alexander and (1847– 41. 35. 40. 39. 38. 37. 36. antiquarian movementantiquarian for preservation the of folk music. Irish theIrish in Collection of Music Irish by figure George Petrie, a seminal music Ireland. well as as England in music by ambassador Stanford James for Culwick, an seen as was Irish see also M. Hughes, also see The English Musical Renaissance and the Press, op. cit., 2002. in a‘Land without Music”, The Musical Times 11, 1902, p. 93– 95, Anon., “The Complete 95, Anon., “The Collection of Ancient Petrie 11, 1902, p. 93– Irish Music”, The Complete Anon., “The Collection of Ancient Petrie Irish Music”, English Folksong 1890–1914”, Revival, Manchester, Manchester U.P., 1993;Richard Sykes,Evolution “The of Englishnessthe in Georgina Boyes, The Imagined Village: Culture, Ideology and the English Folk Revival, Monthly Complete Anon.,See “The Collection of Ancient Petrie Irish Music”, Irish Musical The 1903–1905. Edited from the Original Manuscripts &Co. for, London, Irish the Society, Boosey Literary Charles Villiers Stanford, TheComplete Collection of Irish Music as noted by G. Petrie, Mercier, 1998,p. 46–55. of British Imperialist Culture”, inRichard Pine (ed.), Music in Ireland 1848–1998,Dublin, M. Murphy,See “Nation, and Empire Race in Stanford’s Irish Works: Music Discourse in the & Co., 1901. Perceval Graves, Songs of Erin: ACollection of Fifth Irish FolkSongs , op. 76, London, Boosey Arranged for the Voice, &Co.,1895; and London, Charles Villiers Boosey Stanford &Alfred & Charles Villiers Stanford, Irish Melodies of Thomas Moore:Original The Airs Restored and Irish Songs and Ballads,& Alfred Perceval Graves, London, Novello, 1893;Thomas Moore Collection of Fifty Irish Melodies Stanford’s collections of folk songs include Charles Villiers Stanford, Jeremy Dibble, Elgar and his British Contemporaries, Cambridge, Cambridge U.P., 2004. stable/4522437 5/11/2020),p. 446–490. (last accessed , 1(12),1903,p. 133. 37 Although he was dismissed for interest he dismissed of his was use Although and Irish in 41 Despite the scholarly undertaking, in a letter to Alfred aletter to in Alfred Despite scholarly the undertaking, The Irish The Irish Musical Monthly Stanford criticised for , London, Boosey & Hawkes,, London, Boosey 1882; Charles Villiers Stanford 36 anumber of Stanford’s compositions Folk Music Journal, 6(4),1993, 38 Stanford also edited Stanford also DOI: 10.2307/25434554,p. 53–60;, 149,2008,DOI: The Irish Musical Monthly, Songs of Old Ireland: A https://www.jstor.org/ The Complete The Complete 35 39 In con In Critics Critics 40 - - - -

36 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press in part to his religious and political beliefs. religious to his political and part in potentialand role anational as composer continues to bedebated, due folk melodiesIrish However, themes and of Irishness. Stanford’s Irishness acomposer as Ireland, and and England of music orchestral draws on that in Churchof services Church performed Anglican the music, in primarily listings. programme the concerts werelections and in featured regularly attributed to Stanford in Stanford were available to performers works as America col from in these Petrie the collection other that and clear collections of folk songs edited by spread the ensuring of music. Irish From newspaper research it is archival available tocollections musicians of airs Irish at home abroad; and thus Stanford’sing, of music interest Irish editing the ensured in there that were rule, composing little after Finnish independence. composing after Finnish rule, little posed much of aperiod music of during his Russian style aRussian in Finland’sas national composer, Sibelius aSwedish was who speaker com ofthose Sibelius Jean (1865–1957). Widely acknowledged celebrated and Stanford’s context Irish contrast and identity with mirror sharply an in relationshipwith between nationalism musical and output.difficulties The complexitiesthe ersin reflectformation similar of nationtheand states 44. 42. contemporaneous protestant Anglo-Irish didStanford figures, not engage script to the Irish Academy.script Irish to the showninvariably me such acold shoulder” when he offeredthe manu Perceval Graves, Stanfordthatfriend confided has Irish “Dublin his to 43. To day celebrated Stanford also is this adifferent in wayas a composer Chicago U.P., 2009. Glenda Dawn Sibelius: Goss, A Composer’s Life and the Awakening of Finland, Chicago, 5/11/2020);A.Commins,last op. cit. accessed , 2008. of Oxford, 2014(https://ora.ox.ac.uk/objects/uuid:6d16fac7-bb70-4ba9-bf0e-17c0a9f26ce5, of Charles Villiers Stanford: Constructing aNational Identity, Unpublished PhD, University eprints.dkit.ie/id/eprint/255 5/11/2020);Jonathan Paul, last accessed White, The Symphonies Musical Garden: Perceptions of Stanford’s Piano Music,” Sonus keebaugh_a.pdf 7/11/2020);Adèle (last accessed Context p. 33–44; Aaron C. Keebaugh, Victorian and Musician Charles Villiers Stanford’s Symphonies in of Modern Gods the Music”,, The Musical Times,146, 1890,2005,DOI: 10.2307/30044067 24–27; Kevin O’Connell,org/stable/27725149 “Stanford 5/11/2020),p. (last accessed and CantankerousBoyhood, London Old Age,” 2003,https://www.jstor. Ireland, 12 (3), History writings includeOther Elgy Gillespie, “Charles Villiers Stanford 1852–1924:Brilliant Dublin Choróin: Seacht gCeolsiansa Stanford, Indreabhán, Co. na Gaillimhe, Leabhar Breac, 2010. Finland, See letter fromSee Stanford to Graves, 16February 1912 inDibble, op. cit., p. 369. shortcomings H.Greene, See collection. inthe op. cit., p. 167. Irish Music”, The Irish Musical Monthly , 1,1903,p. 133. Greene acknowledged had also some Monthly Musical Irish Ireland”, (ed.), Music and Nationalism Mäkelä inTomi in 20 Eminence Among Musical Nations, Nationalism for and Case the a Musical History in Cultural History, Irish Music”, White & Harry Gillen in Gerard of Music in Ireland, Joseph Ryan, Dublin, “Nationalism Four 2005,p. 68–86; Courts, and Cultural History in Ireland, 1770–1970,Cork, Cork U.P., White, 1998;Harry The Progress op. cit., Murphy, Axel Joseph Klein, Ryan, Liam MacCóil and Edmund Hunt. E. Hunt, See Stanford’s Michael Irishness explored has been by indetail writers such as Harry White, , unpublished MM, University of Florida, 2004, http://etd.fcla.edu/UF/UFE0007003/ p. 46–55; Harry White, The Keeper’s M.Murphy, Harry White, p. 62; p. 46–55; Recital: op. cit., Music and Hamburg, Von Bockel, LiamMac An Cóil, 1997, p. 233–243; Chláirseach Agus an Dublin, Irish Axel Academic “An Klein, Press, 1995,III,p. 101–115; Old , 1,1903,p. 121Complete and Anon., “The Collection of Ancient Petrie 42 Although not Although musician’salways to every lik (eds.), (eds.), Commins, “An Irishman inan English 43 43 Irish Musical Studies: Music and Irish Other nationalist compos nationalist Other 44 th Century Great Britain and Unlike some Unlike other , 2012(submitted version: - - - - -

37 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press country” and designed and “national as country” culture”. representationssome of cultural the of from old Ireland“the came that emigration revolution, and with linked was that buttity reject would also tions and prominentand society. American in with Britishness. oftenin contrast Irishness, and 1916the revolution Ireland there to acultural is imagine seeks that Rising, with the Irish language Irish the with 52. 51. 50. 49. 48. 47. 46. 45. Queen Victoria’s Jubilee to leading celebrations of and Empire Britain in ofappearance Stanford’s music context, in America 1887 in of year the is period. Placing that for during the America in diaspora that meaningful music his becomes article, this of in nationalism or whether highlighted as whether Stanford revolution belongs to a cultural underpinned by a sense Association 1884. in 1876 in for Preservation Language the of Irish the Gaelic Athletic the and revolution cultural Ireland, includinging formation in the of Society the tions, notably 1798, in 1867 1916. and From 1870s, the emerg there an was by Great the Hunger of 1840s, numerous the had witnessed revolu armed to the establishmentto the of Abbey Theatre the in 1904. Theatrein the inIrish and National1899 1903,Theatre Society which led which includes revival, founding Literary the of Irish the literary Irish an world relating to Irish revolution and culture. and revolution Irish to relating world Moylan points to Ireland songs around and in the being written Terry resenting 23% of world’s the population at time. the British Empire over at is its height, 412 people ruling 1913, million in rep modethe of Sibelius. 52 The Irish diaspora was already significant in many parts of the of manyparts world in already significant diaspora was TheIrish Ashgate, 2002, ii,p. 126–136. in Jeremy Dibble Nineteenth-Century (eds.), Zon &Bennett British Music Studies , Aldershot, Jean Marie Hoover, “Constructing Ireland: Culture and Politics in Stanford’s ‘Shamus O’Brien”, Dublin, Lilliput, 2016. Terry Moylan, The Indignant Muse: Poetry andSongs of the Irish Revolution, 1887–1926, an Ireland that some Irish emigrants would rather forget. C. Fitz-Simon, op. cit., p. 42. Christopher Fitz-Simon notes how, for example, The Playboy of the Western World, presented New York U.P., 2007. Making the Irish America: History and Heritage of the Irish in the United States, New York, For an in-depth study of Irish the Marion diaspora &J.J. Lee see (eds.), inAmerica Casey Theatre Adrian Woods Frazier, Behind the Scenes: Yeats, Homiman and the Struggle for the Abbey Welch,Robert The Abbey Theatre, 1899–1999:Form and Pressure, Oxford, Oxford U.P., 2003; Independent Ireland Joseph John The Lee, Modernisation of SocietyIrish 1848–1918: From the Great Famine to andCo-Operation Development,. 2001,DOI: 10.1787/9789264104143-en Angus Maddison, The World Economy: A Millenial Perspective, Organisation for Economic op. cit., 2005,p. 85. movement and later President became of Ireland. H. White, op. cit. , 1998,p. 109; For example, White cites example the of Hyde Douglas an led (1860–1949)who Irish language Stanford lived through a critical period of relations.Stanford Anglo-Irish a critical lived through The and the reference the and compositions, his in to Irishness it questionable is , Berkeley, U.P., California 1990. , Dublin, &Macmillan, Gill 2008. 47 Maude Gonne W.B. Yeats and towards moving are 45 and is not is and presented anational as composer in 49 Many asserted astrong iden Many Irish asserted 51 In spite In of Hoover’s asser 50 48 Contemporaneously, Contemporaneously, In the period prior the In to 46 Ireland, devastated devastated Ireland, H. White, - - - - -

38 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press difference in the differencein reception his of music sideson both the of Atlantic. there notable is although evident is America, in or Englishman Irishman compositions. his in character Confusion over Stanford’s identity an as adopted his in of nationalself demonstrating his country, traits also while to forge areputation trying and England working in for exile him tary situation the perfectly Stanford avolun as foundin summarises himself too tempting to resist”. “Yourcert: morning. It tempting very and this is letter arrived charming Stanford requested new his piano that concerto beperformed at con the to clearly is America evidenttravelling Stanford’s in letters to Parker -and it appropriate favour same the to to Stanford. return The excitement about ious Cambridge institutions, University 1902, Parker and in may have felt honorary doctorate an ing for Parker at one of England’s most prestig secur in wayStanfordflattering instrumental hadthe beenforIrishman. over decades. It beread, preceding however, three the could also aless in have been due positive to the reception of Stanford’s music America in honour the forarranging Stanford at Yale. invitation This prestigious may honorary doctorate.an Composer Horatio in Parker instrumental was World War 1914, I. In Stanford to was travel to Yale University to accept invitation to do so, never outbreak to the due visited America, part of in ued to visit his family and friends during the 1870s the during friends and ued family 1880s. to and his visit consumption the changes America. in in ofexemplifying culture popular Broadway Newthe in York district theatre developed is 1880s, the during 56. 55. 54. 53. the old country and blessed family are practically gone”. practically are old blessed and the family country hea letter friend to Francis confided: Jenkinson to his links “nowmy all conduct aconcert of own music his including premiere the of Second his Presidentthe invited Stanford Connecticut, of Norfolk in to the Festival after his parents died there his parentsdied are after fewer recordsvisits Ireland. to his of A significant aspect of this paper is that paperthis is Stanfordaspect himself, despiteof an A significant Although StanfordAlthough had leftIreland forCambridgein 1870, he contin in Box no. 26.in Box Parker is contained no. 27 inBox and correspondence from Parker to Stanford is contained Music Library,at S. Gilmore Irving the Yale University. Correspondence from Stanford to Stanfordbetween and Parker from 1901is housed as MSS 32 in“The Horatio Parker Papers” Letter from Stanford to Parker, 12November 1914,Yale University. The correspondence Letter from Stanford to Jenkinson, 1January op. cit 1892,inRodmell, ., p. 162. only days previously on 1891. 27December had lived with another his mother 1891while earlier had died inmid-December aunt died John Stanford on died 17July Stanford Mary 1889while on died 1 January 1892.An aunt who includedalso programme. inthe with help the of Werner and Rudersdorff a while Trio of MozartSextet and a by Brahms were performing of as part astring trio. Stanford’s Piano Trio no.1 op. 35 inEflatperformed was On 11April 1891Stanford appeared at Instrumental the Club, Merrion Row, Dublin Stanford (almost) in America in (almost) Stanford 56 To to visit Yale, coincide this with Carl Stoeckel, 55 This summation 53 However, However, 54 In In ------

39 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press would have been agreat source of disappointment. torate to conduct nor opportunity the work of his both which America, in Harold Bauer soloist as but Stanford neither received honorary doc his Committee of Litchfield the Committee Choral County Union,the committee: sequently too nervous to travel. According of Report to Music the the on for Lusitania the May 15. Stanford disappointed very was sub was and booked passages date. Jennie, had Stanfordture their both wife, his and on May 7, torpedoedKinsale was Lusitania off eightdays before his depar journey to his had when as America to becancelled the realised, not fully of composition Unfortunately, across Atlantic. the Stanford’s were dreams profile the schooluedthe interest raising English work, his of in also while step next for the works was America his contin Stanford in ensuring in June in own direction 1915, acoup for any composer. To conduct one of be concertobut the premiered wouldunderAmerica also his in finally heonly was going to receive honorary doctorate an from Yale University, The other dedicatee was Stanford’sgreatfriend Robert McEwen.Finnie to “Two Friends on either side of Atlantic”, the one Stoeckel. being Carl Stanford had dedicated Concerto Piano this. the achieving in been tactful Concerto.Piano Stanford had sought may and America success in have 58. 57. See concerto were Schubert’s Symphony No.1 Bminor Bizet’s and in Carmen. thealongsideother concert worksof included part first the in Stanford’s provides the insightsgramme into at time; attitudes and the musical tastes The performance of the concerto still The wentperformancetheahead concerto of on 3 still June 1915 with The invitationThe travel to important America two was forto reasons: not correct date of concert. the Americanthe performance took place on 22November on 1915, while page 287 he gives the was Arthur Mees. Additionally, op. cit., Rodmell, Ness but inside the cover orchestral of full the score to work the states that conductor the to concert: this Harrisonpertain that believed conductor the for concert the was one Arthus “Stanford’s New Pianoforte Concerto” The Musical Times performanceThe the of piano concerto was reported the Musicalon in Times:Julius Harrison, programme Norfolk inthe Historical and Museum Society is 8–4–661. Choral County UnionLitchfield premiere of concerto the along with acopy of Report the of the Music Committee of the forConnecticut furnishing me with acopy of programme original the from American the and Museum.Society Iam indebted to The Norfolk andSociety Historical Museum, Norfolk, Report of the Music Committee of the LitchfieldCounty Choral Union, Norfolk Historical interest. principal of the deprived been had festival our prophesieders that camp and critics many and disappointment, widespread and ural 1915. in nat June not festival he presentwas There would be at the that made was announcement an and Charles of Sir approval the June 1916.with met until action to Norfolk visit This his postpone he that suggesting Stanford […] Villiers Charles to Sir sent amessage 57 and newspaper cuttings from era. The the MS number forthe Appendix One, p. 21 incorrectly states that , 56,1915,p. 478–479. Some errors 58 The concert pro ------

40 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press in the audience’s the in performance: the delight in it not did value of work the mind the appear to his concern In rested him. the the noted writers American Stanford’s work the in in awriter Irishness and does not appear to have impression made alasting audiences. on American tion for you in spirit; congratulations”. spirit; in you for tion rendition; beautiful sage received ova successful; from Stoeckel: “highly or power”. great imaginative forboth soloist orchestra: and but it not is notable for novelty of substance written, effectively and modern. pianoforte His skilfully concerto also is Charles “Sir Stanfordcompositional […] skill: conservative is rather than makes a pleasing impression”. pleasing a makes andthat believed concerto “the as a wholewriting thedifferent of aspects orchestrasleading season”, next New York the while Suncommented on doubtless beheard elsewhere ought and to beheard our at concerts of all 59. the the Krehbiel, whodemic”. reviewed performance for the Mr H.E. Although approach hinted at traditional his also work the described and “aca as commented favourably a composer on as work Stanford’s the in but skill received tremendous with enthusiasm”. friend of Stanford’s present who also was at concert work the “the was See 63. See 62. 61. 60. New York Tribune, New York 1915 Sun in movement last wrote “the that openly is Irish, The success of the concert in America was confirmed in a cable ina TheAmerica the confirmed success mes was concertin of The writerThe America for Musical the Newwriter Yorkin The commented Timesalso on Stanford’s See Anon.,See “Occasional Notes” The Musical Times Anon., “Sir Charles Stanford’s New Pianoforte Concerto” cit., art. p. 478–479. Compositions at Norfolk”, New York Times, 6June 1915,p. 17. Anon., “Music Festival Ends inSuccess: LitchfieldCounty Choral Union Gives New Anon., “Sir Charles Stanford’s New Pianoforte Concert”, cit art. ., p. 478–479. Litchfield County Choral Choral County UnionLitchfield Musical America achieves it. achieves and purpose, its It knows face. musical but a clean it has academic, smugly it as decry will Hotspurs Musical Our hand. aMaster with scored and throughout, it is pianistic Most admirable Schumann. from proceeded that aspirit […]. with of it, all music, sound Good beauty musical pure to express consistently and straightforwardly strove and understanding, to its it was because for one thing, liking, and taste to its work greatly found the audience the and fully, duty its Arthur Ness [Mees]did under The completeorchestra devotion. with played it and care, with solo part the prepared Bauer had Harold Mr and New and York Sun in Report of review the Music Committee of the pointed out these traditionally formalistic elements pointed formalistic out traditionally these 60

, Norfolk Historical and Museum. Society 61 According to Cecil Forsyth, astudent According Forsyth, and to Cecil 63 Unfortunately, Stanford’s piano concerto , believed that “it is a work which will awork is , believed “it that which will 62 59 , 56,1915,p. 399–400, p. 400. Many American newspapers Many American - - -

41 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press in his attitudes towards attitudes his composition.in According York New to the Times: conservative have would pointods also was America also as been aselling publicraise reception of work, the composer’s the while orthodox meth to which audiences appealed quality to American critiques and this used work. the of It in Stanford’s Irishness itIrishness that the clear is was music delight demonstrated by audience due the sense to of the may part, in be, likely that his music his that likely may not have impact on made same American the other works received sporadic it performances across Atlantic, seems the compositionshis appealed to audiences some although and America in of one use As native his America. would folk music expect, some in of work, there nothat was sense of this not nationalism is in palpable. piano concerto’ by author the Symphony.” of ‘Irish’ the itsand color may of composition lead the christening to the ‘Irish the as 67. 66. 65. 64. See p 62 bles opening music the of Crohoore Phaudrig op. cessive accentsin a beat theon block first the bar chordof resem texture, heroic movement,and final soundsuc of with this march-likeits rhythm movement third the theme in of Stanford’s Concerto, Piano the while Songs of op.76 Erin aclose bears resemblance to 2–3 bars of opening the work approaches sound. The Irish opening an ofof Kitty the from Cows, epitaph the warrant Concerto”, “Irish Piano only one as movement the in composer’s doas the The concerto, Rhapsodies. Irish however, does not Symphony clearly native very uses folk songs basis for the as work, the the thematicthe cut-and-thrust of innately melody Irish.” rhythm and noted:has “[Stanford] face westwith to his the [and]mind his turns fills Stanford completed which was 1895. in composer English Herbert Howells Stanford’s contributed Irishness to public interest music his in in Consequently, Krehbiel’s statement New York the in Tribune, namely This – far-fetched.report to This little is a put – mildly it The“Irish” Anon., “Sir Charles Stanford’s New Pianoforte Concerto”, cit., art. p. 478–479, p. 478. Compositions at Norfolk”, art. cit. Anon., “Music Festival Ends inSuccess: LitchfieldCounty Choral Union Gives New 5/11/2020),p. 19–31,(last accessed p. 30. Proceedings of the Royal Musical Association Herbert Howells, “Charles Villiers Stanford (1852–1924):An Address at His Centenary”, Union New York Sun inReport of review the Music Committee of the LitchfieldCounty Choral , Norfolk Historical and Museum. Society show their origin. their show clearly that of tunefulness turn unmistakable an and incisiveness and vigour rhythmic a characteristic is there movement, which in last the in done only he so has concerto this In interest. musical and apatriotic both worked with much has had to do,another, he and has in wayone or which, with folk-tunes, Irish the of effect acteristic char the delightfully used often who has Irishman an is Charles Sir 66

, 79(1952),https://www.jstor.org/stable/766209 , 64 a choral ballad by a choral ballad

67 65

The The - - - -

42 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press America by audiences and critics alike. critics and audiences by America Irish-bornStanford, composer an identified was in England, working in press to us reflect American allows the inationupon in ofhow articles perceptions of view American exam esting of music An Irish time. at this accountsand of Stanford’s press music American provide the in inter an tion of works his by notable Furthermore, reviews musicians America. in reputation about upon there built was music writings his promo the and workhis conductor, as musical director, composer His pedagogue. and contributionmade same the he as had to done society through England in Stanford’s which he in had not music acountry America, in at time that were England. Musical Times the reported in in honorary doctoratehis performance of the concerto and the Norfolk in premiere. English an organise Stanford’s proposed to visit Yale to receive power his been unable in to to attend performance he the hear all did and success of the piano hedelighted As his concerto had America. with in losing out on honorary doctorate, the one must Stanford that assume was England. from more serious music seems to have altered public opinion in of him outputtional appealed to audiences departure for America this in a time, of composi his part this music Although “lighter” for America. in this promotion of music his abroad; noted as by Krehbiel there amarket was Stanford’s in Irishness the appears that compositional output helped the audiences were it not for inclusion his of melodies works. his Irish It in 70. 69. 68. more hopeful. have profile the the and raised a of performancework seemed England in American press, interest composer indicating American the in music. his and subsequently and totrip travel received inability his attention the in image detailing the folk tunes used in the piece. the in used folk tunes the detailing image dedication the on work aseparate the outlining Rhapsody Irish also and The includes newspaperalso a copythe coverof page of Stanford’s Fifth Krehbiel which provides account detailed of avery Stanford’s music. Irish performance later was on referred Norfolk by the article Festival an to in The American American Thepress providesvaluable insightsinto perceptions of Despite to disappointment travel the and inability his surrounding H.E. Krehbiel, “New Music for Composed The Norfolk Festival”, New York Tribune County Choral Union, Norfolk Historical and Museum. Society forSee example, New York Sun, 1915, Ibid. 1917, p. z. Reception Criticism and of Stanford’s Music in North America (1888–1924) North in review inReport ofreview the Music Committee of the Litchfield 68 70 Both Stanford’s Both intended Such accounts appear to 69 , 3 June 3 June The The - - - -

43 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Philharmonic Series on Series 19 1884.Philharmonic January performedwas concert from manuscript of New at third the the York received some attention press the in including Serenade his Gwhich in CroohorePhaudrig inently include comic O’Brien his opera Shamus Irish folk with music which Those feature infused worksmost prom attention which and may have been deemed to have most appeal. popular compositions infused greatest it clearly Irish was which his text, attracted publication publication George Shaw’s Bernard Symphony criticism of “Irish” the English the in cles press. published English One the example in excerpt featured from an late newspapers the some on 1880s, in American arti drawing with occur the extentthe to which he had enjoyed aperformance.” judgments not“his only on remarkable his musical knowledge, but on appear in Church listings to his Services and and Church Services toappear in his listings numerous well received While references America. in being critically ditions, Stanford’s music worthy and of popular remains performance, schoolEnglish of composition would that move away tra from Germanic politicsby of the both identity desire the to and create or pioneer anew tury. Removed socio-musical from the sphere dominated England in notabletwotwentieththe cendecades venues first of the in England in of music his or of lengthy reviews performances of compositions his at ers. By comparison, there fewer are references to upcoming performances being overshadowed was England by younger the generation of compos decades of century,two twentieth the considering reputation his that in first the in Stanford press, music his and particularly American the in 74. 72. 71. disliked by many musicians, hedisliked “was adored by general his readers” as Shaw. Stanford’s circles England. in fellow most his cal was critic cruel Irishman, fellowmusic his tainted England Irishman’s critic in reputation musi in century, ghost of it the that George clear is Shaw’s Bernard brief period as continued to receive some positive press twentieth the the criticism in in 73. It appears that the first substantial referencesIt substantial first the appears that to Stanford’s musicin What is particularly interesting is the regularity of references interesting regularity the is to particularly is What of Aesthetic Education,, p. 63–71. 35,2001,DOI: 10.2307/3333610 Bernard Shaw”, Eugene Gates, “The Music Criticism and Journal Aesthetics George of Villiers Stanford Irish Symphony”, New York Times Famous Wagner Singer –Phases of Wagner the Controversy –Kneisel as aConductor – A Few Remarks to Show How Wheels the Around Go Return of –the Mme. Materna, the Anon., “Gossip of Hall Concert House. and Opera The Pianist, His Piano and His – Harps of orchestra, the that he believed instrumentation the was “wanting incolour”. not “overburdened with ideas”. Although he appeared impressed by composer’s the handling did not inspired seem by work, the referring to it as a“Suite” and that he believed work the was Anon.,PhilharmonicRehearsal”, See “The New which hewhich worked for included The Pall MallGazette, The Star The and World. role he wrote under pseudonym the “Corno di Bassetto”. Some of magazines the and journals George Shaw Bernard (1856–1950)was an Irish dramatist worked also who as acritic. In that 73 Outspoken and always striving for Outspoken musical perfection, always striving and he based World World and his arrangements his of and folk melodies. works Other in 1893. York Times in New the in

York Times, 71

, 21 May 1893,p. 13. Te Deum Te 19 January 1884,p. 4. The reviewer , the “Irish” Symphony, “Irish” , the 74 72 Although Shaw Although was Although Stanford Stanford Although , in a secular con a secular , in ------

44 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press were performed Europe. across and to England great Indeed, his acclaim featured prominently newspapers English in many of compositions as his of reviews Stanford’s England, in At time that music were numerous and on music the composer of Hungarian (1811–1886) Liszt Franz America. in articles their in Hanslick quoted critics American words the of Eduard when nineteenth century the to apractice in papers not is dissimilar critics in America. of compositional his aspects however, style, were focus of not the main the of means reliance on compositionhis traditional These Irishness. his and issues relating toto Stanford music: highlight his and academicism, his for negative entertaining his readerswas criticism of served articles, his sums upsums Shaw effect his in criticism the of methods of and 1946: in Stanfordin reception nineteenth century. the in he made music criticism comprehensible to all. 78. 77. 76. 75. study Shaw’s is tendency to parrot public perceptions at time. the The inclusionThe American news in writings critics by European of Shaw’s criticism of Stanford point proved damning turning acrucial and Lee. See also See Holroyd, See also and See Lee. op. cit. inDibble, op. cit., p. 186. Vandaleur had on Shaw Lee the household. In 1876 Shaw moved to London to join his mother London, Chatto &Windus, Shaw 1988,I,p. 48–49. had acknowledged influence the which established religion”. Michael See Holroyd, 1856–1898: TheSearch Bernard Shaw: forLove , to agenteel cultured classic piety of English composers by dulled university education and exposition of Shaw’s twenty years of inEngland, experience he inwhich reacted violently Dublin. Holroyd that believed Shaw’s of review Stanford’s symphony “reads as aquintessential mother’s singing teacher –as an imposter inDublin inevitably which to led Lee’s from exile reasons. Stewart, Stanford’s organ teacher, Vandaleur had successfully exposed –Shaw’s Lee Holroyd two the Irishmen between suggests may that rivalry the have stemmed from personal jstor.org/stable/739194 7/11/2020),p. 319–332. (last accessed William “G.B. Irvine, Shaw’s Musical Criticism”, Quarterly Musical of America,, p. 1005–1017, 10.2307/460376 72(5),1957, DOI: p. 1006. “Shaw’s Contribution to Music Criticism”, Publications of the Modern Language Association scolds Writing the Craft’ Arts and Decorations XIII(March 1923),p. 87 inGeorge S. Barber, it has not inany perceptible degree sweetened his temper or broadened his tolerance’. ‘Shaw of letters, infant the terrible of parlor politics and though age has slowed down his passion limelight by doing adouble somersault for delectation the of crowd. the He is arch the buffoon of any popular or idea He ideal. dotes on controversy for controversy’s and sake the takes that ‘nobody Shaw takes seriously days. these He upon depended can to opposite be the take writing in1923 gives an interesting alternative account of Shaw’s work role, inthis noting While Shaw commended has been for his writings as amusic critic, an anonymous critic Ibid ., p. 64. all sorts of exaggeration and special pleading. special and of exaggeration sorts all by readers of his heads the into truth partial and fragmentary drive upon paper, facets but its to all in not whole to put truth the he tries, short In best. his to do everybody gadflying insults, lauds, bullies, produce He it. composers coddles, and musicians and music, better on insist make audiences to effort andpassionate in a gay ate effect, for immedi Shaw writes pragmatic. and relativistic is attitude fessed […] but not always impartially, pro quite His he punishes Usually musician. fallible enemy of every personal malignant He the is 75 78 More this to significant While Shaw’s While criticism , 32 (3), 1946,https://www. 77 76 Irvine Irvine - - -

45 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press ences about successes. his poser, conductor to audi served inform and England in pedagogue and tographs, demonstrated reputation the which he had up built acom as in Newin York 1888. on 27 January 28 and Symphony included Society work the at Metropolitan the House Opera von Bülow London in the while Germany and Richter Hans and Hans sure music. to his Completed April 1887, in it soon was championed by ever, which was popularised in America in the aftermath of the of aftermath 1916 the in America in popularised which was Rising. fromtheCatholicwhich differed Irish dominant Nationalist identity lead to confusionalso over Protestant Irish identity Unionist, his an as lic about Stanford acomposer. as However, newspaper can these articles included. examples, photographsobituary. English the Like of composer the were ber of newspapers, occasions American in including news and of death his newspapers, it interesting is to note Stanford that featured was on anum Stanford music. his and followingthe month demonstrated it and also Krehbiel’s keen interest in Stanford’s announced itcation as timely also was intended to visit America “Some ThoughtsConcerningand Folksong Nationality”.Krehbiel’s publi Stanford’s compositions soon begiven here its entirety.” will in good are night, last samples of entire the try work, it to is be hoped Mr that movementstwo symphony, from this coun this in heard time for first the Music the noted critic of the and under direction Damrosch “if the that Academy month Brooklyn the had the been in earlier programmed in of Strand Magazine Strand of composers, notable two The examples being The Musical and Times 83. 82. performance of the was Stanford’s Symphony “Irish” many references press the in with work to his capacities It these also. in work to berecognised conductor as beginning also was pedagogue and 84. 81. 80. 79.

which appears to mark the beginning of American audiences’ of American which expo appears beginning to the mark In England, Stanford England, hadIn featured series of in biographical sketches Decay –Irish Tunes and Beethoven”, York New Tribune H.E. Krehbiel, “Folksong and Music’s Future. Sir Charles Villiers Stanford on Germany’s p. 12. Villiers Stanford. Reviver of Ireland’s National Music”, The Chicago Tribune, Music”, andConcerto Chamber Music, Aminiaturist Latter Day Decay, An Irish Nationalist in forSee example, Anon., “Musical Comment, Grief as a Writer for Orchestra, The Pianoforte reminiscences inStanford’s autobiography. Herep. 3. provides Aldrich asynopsis of Stanford’s career, summarising while some of his p. 102–131. Nationalism inBoston after World War I”, Éire-Ireland, 46(3-4),DOI: 10.1353/eir.2011.0018 , Damien Murray, “Ethnic Identities and Diasporic Sensibilities: Transnational Irish-American Distinguished Musicians –AComposer’s Reminiscences”, New York Times forSee example, Richard “Sir Aldrich, Charles Stanford’s Entertaining Sketches of Some January 1888,p. 4. Anon., “Music – The Drama the at Brooklyn Academy of Music”, “Music. Stanford’s Irish Symphony”, New York Daily Tribune , 28January 1888,p. 5. Anon.,Concert “Fifththe of SymphonySociety”, Sun The 82 Indeed, Krehbiel wrote a lengthy summary of Indeed, Krehbiel Stanford’s wrote alengthy summary article New York Tribune, an Illustrated Supplement, August 1897,p. 16 and Anon., “Charles . Such lengthy accounts, many of which included pho 83 Such coverage helped pub American the inform 81 While certainly not long as English in those as certainly While 79 Two movements of work the , 2May 1915,p. 3. , 29January 1888,p. 2 and Anon., New York Daily Tribune, 4 in America, how America, in , 21 February 1915, 17 March 1900, 80

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46 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press in Ireland was also noted. Ireland also was in New featured York the Berlin in Herald to the toestablishment the of a national opera England. in made reference to letters which Stanford wrote Times to the in a numberin of newspapers. bytune Stanford for at new St the bells Mary-le-Bow received coverage London Pilgrims ofreports performanceCanterbury of the The London (with noting some “FROM articles LONDON”). For example, audiences. On occasion accounts these were Times from the taken demonstrating awareness the amongst of American culture European engagements performances and of music Ireland, his and England in 88. 87. 86. 85. Verdun mieres were noted, including Verdun Daily Courier by Oxfordhim University 1883 in reported was on Buffalo in New York ing Stanford’sing at 1870s. years early the Cambridge in Fuller-Maitland also onewas of Stanford’s oldest played having dur friends, him duets with who from 1889 workedMaitland, 1911, music as until at critic Times the some that promoted critics turies composers for personal reasons. Fuller- latemusic the cen twentieth nineteenth early in and England criticism in own personalhad preferences their of It taste. from clear is astudy of other composerswhile those suffered themayas hands critics of at have for some amusement the writings exaggeratedwritings; their of reader, the assessment of acomposer’s music, many reporters were subjective their in ics’ treatment some ofmusic. wrote their objectivelycritics While their in role Ireland. and musical of life England the both in audiencesAmerican relation had in to Stanford’s music Europe in his and ed, 92. 91. 90. 89. 86 while the concert the Stanford while conducted entirely of own works his in The American American Thepublishedpress regularly accounts of Stanford’s recent Anon., “Philharmonic Society”, York New Tribune Anon., “Cable Brevities”, The New York Herald, 15January 1889,p. 7. Covent Garden of ‘Much Ado About Nothing’”, n”, o New York Daily s Tribune, 31May a 1901,p. 6. e S of Covent Garden. DrCVilliers Stanford’s ‘Much Ado About Nothing’ Novelty inLondon 1901 p. 15; Anon., “Article”, San Francisco Call , 16June 1901,p. 18; Anon., “First New Opera forSee example, Anon.,Foreign “The London”,Stage New York Dramatic Mirror, 15June Herald Lake Anon., “Article”, Richmond Dispatch, and B.B. Young, 2September 1884,p. 2 “Article”, Salt As notedAs earlier, different composers benefited critvariousfrom FromLondon The Daily News”, New York Times TheSaint PaulDaily Globe, 10November Anon., also “Irish See 1895,p. 7. Musical Festival Anon., “A Fair of Doctor Music. Annie Patterson, of Great the Secretary Irish Feis inDublin”, Anon., “Musical Matters”, Buffalo New The YorkDaily EveningCourier , 8September 1883,n.p. Star, November n”, 1905,p. 3. w To TheSan FranciscoCall , Anon., “Article”, The RiceBelt Journal, March 1906,n.p.; Anon., Rehung”, to be “Bow Bells Anon., “Whittington Rings”,Chime Journal City The Record Union, 16 April 1899,p. 7. Thisearlier was in Anon.,reported “Article”, Kansas Anon., “Article”, New York Evening Post, 25March 1899,p. 28 and Anon., “Article”, 85 Much Ado About Nothing About Ado Much and New York Herald, 31May 1901,p.9 and Anon., “Shakespearian Production Opera. at , 91 , 9April 1909, p. 17. , 18 May 1884,p. 11. while his appointment his while President first as the “ of 24 September 1905,p. 5324 September Bells BowLondon andof Anon.,Old “The 92 90 Such references awareness indicate an that The conferringan honorary of doctorate on The Minneapolis Journal Minneapolis The in 1918. in . 87 , 31March 1895,n.p. at Covent Garden were includ Anumber pre of American the , 13 October 1918,p. 4., 13October 88 American newspapers American also 0Nvme 95 . 25; , 10 November 1905, p. 89 The setting of the of Thesetting in Dublin and and Dublin in in relation relation in Feis Ceoil” in in - - - - -

47 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press ion “Stanford to musical is Tennyson.” counterpart bears testimonybears to Fuller-Maitland’s of view him. holding well as post as of the circles poetic England Poetin in Laureate placing tovery Tennyson of Stanford a parallel as who well respected was relation in drawn was toparison Stanford’s “special affinities”, poetic the ing spirits in the renaissance of renaissance British the music”. spirits in ing newspaper”tial to promote men two whom he considered to lead be“the positionFuller-Maitland most his “the used widely-read with influen and Stanford’s and Parry music it that and clear reviews evident is was his in “came for in most praise”. the extravagant received positive Hughes indeed, commented commentary; Stanford that music Stanford’s Fuller-Maitland’s period music as at critic Times the worked critic at and Guardian as the 97. 95. 94. 93. had met his American critics. critics. had met American his for Volbach, of and Elgar case example the in Stanford that it unlikely is someUnlike composers who were of music, of acquaintances critics their Krehbiel positive was assessment his in of Stanford’s music writings. and critic. as a Krehbiel influential is It noteworthy, highly was therefore, that penetration power and of view, faculty of expression.” critical had never occupied before, knowledge, respect of breadth, in technical and hethat United had the musical set criticism in States on aplane it that it indeed, musicalleading critic of not is and, America; too much to say New from York the Henry Krehbiel to Aldrich, Richard Tribune “was the emerge in their writings which worthy are ofemerge consideration writings their in here. New York Sun forcritics New York Times, the W.J. and Henry Krehbiel Aldrich, Henderson great number of of reviews music his by eminent such Richard critics, as were public the champions promoters and of music. his On account of the newspapers, it who possible makes to particular ascertain in writing, Stanford’s music no signature, knowledge bear America in of who was 96. Although many of the reviews written about many written of reviews performancesAlthough the of org/stable/726960 7/11/2020), p. 266. (last accessed Richard “Henry Aldrich, Edward Krehbiel”, Music and Letters, of Sir Charles Stanford”, Times The Irish B. W. YeatsIreland what Mr is to Ireland. literary Anon., See “A Great Musician: Death after Stanford’s deathwhichthewriter in proclaimedthat Stanford ‘was to musical This comparison was similar to an opinion held writingby a critic in Cambridge, W. HefferSons., & 1934, p. 11. J.A. Fuller-Maitland, The Music of Parry and Stanford, Essayan Comparativein Criticism, M. Hughes, The English Musical Renaissance and the Press, op. cit., p. 31. See M.Hughes,See The English Musical Renaissance and the Press, op. cit., p. M. Hughes, The English Musical Renaissance and the Press op. cit., p. 1–103. treatment of composers in England late inthe nineteenth and early twentieth centuries see Times, Lunn, Henry Cowen while showed critic with The Musical antipathy towards Fredereic Maitland, was often critical of Arthur Sullivan. For more information regarding critics theirand The Music of Parry and Stanford, op. cit., p. 11. other Onthe hand Fuller-Maitland , this provides an opportunity to examine the themes that the to examine provides opportunity , this an while Hendersonwhile contributed also to the , 31March 1924,p. 6. for a time. During Pall for Mall During Gazette a time. 93 In Fuller-Maitland’s opin Fuller-Maitland’s In , 96 both ofboth whom were music

95 94 4 (3),1923,https://www.jstor. Enthusiasm for both Although this com this Although

8 and J.A. Fuller- h Irish Times The

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48 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press and Amsterdam in 1888. in Amsterdam and Symphony to Berlin audiences European Hamburg, performances in with It Richter was von and ics alike. Bülow who brought Stanford’s “Irish” native hoping land, favour audiences it him that with would crit and win have encouraged Stanford to develop interest folk-music his the in of his stone dead”. stone George Shaw Bernard noted symphony, “the that amusical form, as is critic commentedcritic performance of the work that the a novelty. was miere. to conduct arepeat performance of workthe the Berlin pre day after the symphonythe 1888, invited Stanford at in Philharmonic Berlin Berlin the “full of character, [...]“full melody rich in excellently and made”. were Stanford’s criticised, gramme Symphony “Irish” noted was being as for 1888. aperformance on some January 28 Although elements of pro the 1888January by Symphony the at Metropolitan the House Opera Society Society. frequently was and included of Philharmonic programmes the the in Walter performed and ofularly Frank under direction both the Damrosch audiencesAmerican soon so completion. after its symphony The was reg thatsymphony a significant ItcomposerIrish an highly was by reached folk music appealed to audiences. reception ofInitial work the positive was composer’s the as of use Irish premiere English the of work the St James’s in on 27 June Hall 1887. 101. 100. 99. 98. 104. 103. 102. Public rehearsals of the “Irish” Symphony ofPublic “Irish” the rehearsals Stanford completed Symphony “Irish” his 1887 in Richter and gave Three Three Volumes 1888. This is citedLaurenceDan in (ed.), Shaw’s Music: TheComplete Musical Criticism in George Shaw, Bernard SecondRichter Season”, Concert This “The Pall Mall Gazette, performancethe This article reviews the of “Irish” SymphonyBerlin in 1888. in February 1888,https://www.jstor.org/stable/336038029 (541), 7/11/2020),p. 154–155. (last accessed “Dr Stanford’s “Irish” Symphony inGermany”, The Musical Times and Singing Class Circular, It appears that von Bülow aside to stood allow Stanford conduct his own work. Anon., See includedwhich music the of Wagner, Brahms, and Beethoven Goldmark. performance at Hamburg composer the was invited to conduct work the inaprogramme Willem Kes conducted work the inAmsterdam on 3 November strength 1888.Onthe of the Von Bülow conducted symphony the at Stadttheatre the on 26 January 1888 in Hamburg while Anon., “Mr Stanford’s New Symphony”, The Times Anon.,Concert “Fifth the of SymphonySociety”, cit., art. p. 2. Anon.,Symphony “The Society”, New York Times, 28January 1888,p. 4. acomposer,was also noted for his songs and operas. and conductor of Metropolitan the and Symphony Opera inNew York. Society Damrosch conductorborn working He inAmerica. was director of New the York Symphony Orchestra Newthe York Institute of Musical Walter Damrosch Art. aGerman- (1862–1950)was also Hein America. worked at Metropolitan the House Opera in New York and was director of Frank Damrosch conductor, (1859–1937)was aGerman-born organist and teacher working arrangement of traditional airs”, op. cit., 1998,p. 196. perhaps most illustrateseasily his untroubled juxtaposition of Brahmsian pastiche and the reception of work this a century later work, writing when “This all of Stanford’s compositions, 100 102 Despite its initial successes, in his review of the “Irish” Symphony of review “Irish” his the Despite in successes, its initial

101 Stanford’s Symphony “Irish” America. in featured regularly , II, London, Bodley Head, 1981, p. 515. Harry White Harry perpetuates acritical Head,II, London, 1981,p. 515. Bodley Stanford’s “Irish” Symphony 99 On the strength of a successful performance of of asuccessful strength On the 98 The success of this composition The this success of may , 1July 1887,p. 4. were held on 27 28 and 103 Another Another 15 May 104 - - - -

49 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press March) 1912. March) York Symphony Theatre Orchestra aton Century St the Patrick’s Day (17 of Symphony the gramme of New Society York New the concert with 1917 (Carnegie Hall). Stanford’s Characteristically, work headed pro the 1908 1912 (Carnegie February Hall), in (Brooklyn) on and 25 February of century. twentieth ning the Three such concerts took place 28 on March Young occasions the three in People’s Symphony at begin Concerts the had for audiences symphony the programmed and of time the on at least Orchestra. phony November in Hall at New Carnegie the 1907 York with Symphony century.tieth Walter conducted Damrosch aperformance of sym the twenappearedthe more of first quarter the frequently in programmes in workto the brothers of Damrosch the Gustav and Mahler, symphony the tion, it appeared to loseaudiences. favour American However, with owing performances of work the decade successful comple after its the in tial “might be improved by more performance.” the in ini the lightness After work.” merit and his in lack of dignity He acknowledged effect the that advantage. best to material his therefore,There his todayis, to utilize no composeranyEnglish as of certainly Stanfordthat well qualified “was as cianly”, they notedcianly”, they it that “not was impressive.” commented writer work this the that Although “pleasant was musi and 106. 105. ment, the sadness and the rollicking humorment, rollicking of the and old sadness the Erin.” received favor”,always “been with it that “redolent and was senti the with The Evening in work the noting critic that the has World with favourably excerpts from Wagner’s “Die Meistersinger”. The concert was reported on respectively. 1912January 17 and November 1912 Madison and Square Hall at Carnegie Society.Philharmonic Walter conducted also Damrosch work the on 6 York 1911 work revived the Mahler February while in New the with Symphony1908 at Sixth the Concert for Young People Hall at Carnegie formance took place on Sunday. Easter ofdirection Victor on 23 March 1913. Herbert Hall at Carnegie per This which took Musical included Festival Irish place an also under was in the 107. 110. 109. 108. Damrosch obviously recognised the appeal the “Irish” Symphony obviously “Irish” Damrosch the appeal the recognised Anon., “Article”, York New Tribune Ibid. n.p., and Anon., “Music Here and There” New York Times Anon., “Irish Tunes Big Audience”, Please Carnegie The Matthews Journal, November 1912, 16 March 1913,p. 10. Anon.,See “Article”, New York Times, and Anon.,16 March “Article”, 1913,p. x9 Sun The p. 22. Sylvester “Damrosch Rawling, Remembers Erin’s Day”, The Evening World, 18March 1912, music expressive of Gaelic the spirit, and by pathetic.” turns merry Irish the use composer has made of Irish themes, and success the with he which has made the Times Afternoon Music, Irish Symphony and OvertureNegro – Griswold’s Fine Singing”, New York Anon.,1912, p. x7; “Article”, The Sun, 10March and inAnon., 1902,p. 9 reviewed “Sunday This concert was announced in Anon., “Music Here and There”, New York Times , 106 18 March 1912,n.p. in writer the which commented on its “real beauty, felicitous the 107 Frank Damrosch conducted Damrosch Frank symphony the on March 28 108

Interestingly, of second concerts consisted the the half of , 18November 1907, p. 6. 110 Thesymphony performed was 105 105 , 10 November 1912, n.p. They did, They however, attest 109

Thesymphony , 17 March ------,

50 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press tors exponents and of works. the Richter, names the von Bülow were Mahler and often notedas conduc Stanford’s Symphony. “Irish” advertisements In of work, reviews and the manipulation of its material”. its of manipulation the in interest, much of skill ing, made sustained and and with dexterity positional The New style. York Times believed critic work the to be“charm contained reviews Other some perceptive comments relation in com to his ization of music Irish to befound Dr Norman McLeod’s in Notebook.” notes character and to the symphony “the that answers most strikingly refersalso of performance to under the direction Richter the London in of overview each movement.readers article were analytical This given an example 1888 notice being the of January which performance in in the Symphony of “Irish” Reviews the weregramme. one often detailed, very 15 1921 August included movements two symphony from the its pro in College City Stadium help on Music Lewisohn of Irish the the in Society Mahler in 1911, in Mahler the in a writer tion.” sense best have the it in popular make not it gained more frequent repeti might well that qualities its that merits rather is certain surprising and “it New Yorkof the Indeed in folk acritic tunes. 1911 in Times writing noted Symphony, of “Irish” reviews his which were mostly positive. Stanford’s proficiencyas a composer celebratedis in for ever admiration the growing work. the work not was more frequently Krehbiel performed, while commented on the Aeolian Hall on 21 1917. Hall Aeolian the January on 24September 1916 aperformance and of symphony the took place at interest work the in America. in 115. 114. New Yorkgiven the in Times and at aconcert for 69 the 113. 112. 111. ods “employedods most the of to extremely make the interesting material.” “resourcefulness of accomplished musicianship” scholarly the and meth 117. 116. Association with prominentAssociation with conductors helped profile to raise of On the whole,On the statements relation in a composer as to Stanford’s skill Composers”, New York Times A Programme Anon.,of Society: Philharmonic “The Music by British and American “Irish Symphony Brings Message”, art. cit., p. 9. Norwegian Composer’s Music”, New York Times forSee example Richard “The Aldrich, New York Symphony.Concert of Irish, Welsh and Music”, New York Times p. x7; Anon., “Sunday Afternoon Music”, art. cit., forSee example Anon.,Society”,Philharmonic “The New York Times Anon., “Music. Stanford’s Irish Symphony”, cit., art. p. 5. Tribune Brings Message. Damrosch Orchestra Stirs Hearers with Villiers Stanford Work”, New York performanceThis was favourably reviewed by Krehbiel: H.E. Krehbiel, “Irish Symphony Richard “The Aldrich., New York Symphony”, art. cit., p. 7. Ibid. 115 Following a performance of the “Irish” Symphony Following aperformance of “Irish” the conducted by , 22 January 1917,p. 9. th , 18 November 1912, p. 11. Regiment Relief at the Manhattan Opera House Opera Regiment Relief at Manhattan the , 15February 1911,n.p. 117 New YorkNew Times, Aldrich noted that “he writes skilfully, skilfully, noted writes Aldrich “he that 113 114 Positive of reviews symphony the were New York Tribune continued ensuring Aldrich found Aldrich the that it surprising 111 An Irish Night organised with the the Night Irish with organised An comment on his skilful treatment comment on skilful his , 18November 1907,p. 7 and H.E.Krehbiel, p. 11; Anon., “Sunday with Orchestral Filled commented on Stanford’s 6 February 1911, , 26 112 116

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51 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press ony”. Symphony where second the prolonged theme “is point to the of monot tendencyHis noted is second to the prolixity in movement of “Irish” the of the “English School”.of “English the rated work the Tchaikovsky’s on with a par counterparts. English their focus critiques, of unlike their not did appear to overly writing his concern not was and them central the approachservative work his described and “academic”, as criticism of this bly beyond point the profitable where him yields material his results.” three stopmovements at that first and least the are extended considera does note, however, Stanford that not “does always quite know when to composers, included movements two of “ the 1912, devoted which was entirely music to the of American British and which Stanford acomposer for as had earned himself of note. formed. reputation testament bears Such toAmerican the programming Circumstance only other the Britishwas orchestral workPomp and per among the refined nationalists in among refined the music”,nationalists done has Dr Stanford workopera ballad and which places high name his often charmingly, for orchestra.” charmingly, often 124. 123. 122. 121. 120. 119. 118. much dexterity and skill in the manipulation the of in its material.”much skill and dexterity interest of but sustained style, made and in it with charming, is original the despite being acosmopolitan Sibelius individual. himself ter people of Finnish the asource as of inspiration for Sibelius’s music”, music emphasises Nordic “the elements, charac nature the and Finnish for example, Tomi noted reception has Mäkelä German that of Sibelius’ to focus ontries national elements one’s in of music. Sibelius, case the In to of that Dvořák Dvořák’s Dvořák’s New York Times noted not is Aldrich “it that great music, nor wholly 121 Despite negative seemingly these audiences criticisms, America in A writer in the New York the in A writer Tribune 1897in noted “in symphony, that ‘Co-Nationalism’ in20 Tomi Mäkelä, “Towards of a Theory Internationalism, Europeanism, National and Anon., “Musical Comment, Grief as aWriter for Orchestra”, cit., art. p. 16. Anon., “Philharmonic Society”, cit., art. p. x7. Ibid. Ibid. Ibid Ibid. Century Great Britain and Finland, Hamburg, 1997,p. 175. While some American writers hinted at his traditional and con and some hinted writers at traditional his American While . New WorldNew Symphony The Importance andThe Importance Perception of Stanford’s and Grieg.and It not is for other coun unusual in critics National Identity in America in Identity National th Century Music” Century inTomi Mäkelä (ed.), Music and Nationalism in 20 122 A concert held at Carnegie Hall on 6 January on Aconcert 6 January held Hall at Carnegie , an important achievement important , an for acomposer 118 In a review of areview In the 123 and his music his and compared was Pathetique Symphony Pathetique Irish Symphony. Elgar’s Elgar’s ” Symphony. “Irish” Symphony “Irish” 124 This may also also may This 119 Aldrich Aldrich and and

120 in in ------th

52 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press was similarly divided and difficult. and divided similarly was order in at time the to promote music. Irish audiences believed Stanford that among representative best was the of this inclusion Sunday popular American that in afternoon concerts suggests nence of Stanford’s music concerts which in celebrated music Irish its and a programme toa programme demonstrate music. nationalism in of music; his on one occasion chose symphony Mahler the for inclusion in Symphony “Irish” his which clearly most had The appeal. the performance popular context of choral, organ orchestral works. and output works his Of “Irish” it his was formed included sacred music, arrangements his of songs, folk songs, art generated Gustav Mahler and Damrosch interest music. his in Works per of venuesformed avariety in pioneering and conductors such Walter as to 1920through revealed alarge has number that of works his were per ofreviews performances of Stanford’s works 1880s from America the in music of examination prominent period. An is this during America in of national his identity. oftion Stanford’s of totality the compositional output complexity the and apprecia an limited potentially and community American Irish dle-class composerIrish possibly was mid attempt increasingly to an an at writing The emphasiscritics American thatplaced on Stanford’san identityas Sibelius attracted superficial nationalist headlines fromearly an stage”. nationalist Sibelius superficial headlines attracted on own terms, ments, his “Instead artist of being regarded individual an as have anegative impact on appreciation the of acomposer. com Mäkelä 128. 127. 126. 125. Irish American community. led to dance and astrong awareness of heritage identity and amongst an foundation of promoted that music societies well as as language, Irish the history, Irish and ics engaged the and language study of the Irish the in The emergence American thenewspapers, Irish of presence of academ weresocieties founded points meeting which for as acted Irish-Americans. numerous and of second nineteenth century the the to in America half from Catholics Protestant had Ireland, manyily Irish emigrated migrants Shaped by complexities the of society, Irish identity America Irish in The concept or representingof portraying a national through identity America in the latter inthe America of half nineteenth the is century which not surprising given large the and of activities the past. their There were a substantial number of native Irish in speakers with an interest Irish inthe language and encouraged they people to embrace language the historical topics relating to Ireland. The publication was An popular among Gaodhal those language and organized they music classes as well as Irish give classes. Some also lectures on founded inuniversities. Many were founded societies with aim the of promoting Irish the promoting Irish. Many promoted academics Irish the language and departments Celtic were Indeed, in 1888, one gave journal a list of 44 newspapers nation-wide werewhich involved in Many Irish American newspapers from 1850sonwards the included Irish related articles. p. 1-62. J.J. “Introduction: Lee, Interpreting Irish America”, inMarion &J.J. Casey op. (eds.), Lee cit., Anon., “Sunday With Filled Orchestra Music”, cit., art. p. 11. Ibid ., p. 173.

reveals muchreveals about reception the interpretation and 128 While Irish emigrants of nationalist both emigrants Irish While 127 Following an initial wave of initial primar Following an 126 Given the promi the Given 125 ------

53 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press 130. 129. at middle classes. the Thomas working classes, Moore’smainly parlour aimed repertoire was of American musical life. of American gious beliefs. of music his Irishness more commands or reli political attention his than he perhaps is America, where amorethein acceptable figure “Irish” Irishness, nationalism defines that neglected by dominant the cultural ville stage. in aUnitedin Kingdom”. national identities,individual or but Irish English; some went on believing tensions“as political most increased, people themselves chose with to ally Scheer identity America, beliefs Irish argues: unionist and expressed in an 133. 132. 131. tenor John McCormack Anumber America. of in concerts featured Irish culture the Irish in est musicians repertoire Irish Irish and testament is strong toturing the inter category to Moore The similar large America. in number of concerts fea Stanford’s works which draw on themes melodies and Irish a put in him anumber of melodies. with his many familiar with of middle class the Moore’s aesthetic. dle-class music featured prominently minds the in of a mid frames older the presenting traditions and Irish within them tion of Moore’s 1895. Melodies in Moore, Like Stanford reinterpreting is Petrie, whose collection Stanford later Stanford edited. edited acollec lections of folk music by acontemporary Edward Bunting, of George bly most relevant. It interesting is to note Moore that col from drew the the Petrie Collection and Moore’s and Petrie Collection the Melodies referred composer. to anationalistic as Stanford’s arrangements from both folk song arrangements, it his and not is Stanford that surprising was on audiences focus on contributionthe and America his in of touse the By the 1880s, Irish musical culture was already a significant element asignificant already was 1880s,By musical the culture Irish in Marion &J.J. Lee Casey op. cit. (eds.), , p. 411–416. Publications Ltd., S. Miller, 1997; Rebecca “Irish Traditional Music United in the States”, Nicholas Carolan, AHarvest Saved: Francis O’Neill and Irish Music in Chicago, Cork, Ossian Nineteenth-Century British Music, Aldershot, Ashgate, 2006,p. 160. Rhapsody”, &Julian Cowgill inRachel Rushton Christopher Scheer, “For Sake the of Union: the The Nation in Stanford’s Fourth Irish have of interest been to Irish Americans. prevalent among Irish the American community. Stanford’s “Irish” music would certainly dailyin their lives home, new in their An awareness of and history their heritage was certainly 1920s with most emigrants realizing that a knowledge of English was more them to beneficial number of emigrants living and inAmerica numbers although these were decreasing by the p. 406–410. W.Robert Snyder, Irish ‘The and (eds.), Lee Vaudeville’ in & MarionCasey J.J. n.p. which concert the of advertises 17November 1912. Symphony. Anon., also “Music See Here and There”, New York Times, 10November 1912, Hall McCormack inwhich included inaconcert performed also which Stanford’s “Irish” reports which on aperformance by JohnNovember McCormack at Carnegie 1912,n.p. forSee example, Anon., “Irish Tunes Big Audience”, Please: Carnegie The Mathews Journal, London, Oxford U.P., 10.1093/oxfordhb/9780199765034.013.024 2014,DOI: , p. 596–615. & Julian Rushton The (eds.), Oxford Handbook of Revival and Post-Revival Music-Cultures, Williams,Sean “Irish Music Through Revivals Generations of Diaspora”,CowgillRachel in 133 Considering the impact which his Irish themed Considering works Irish impact which his the made 131 129 132 It audience that is for which Stanford proba is Thus, unlike in Irelandin where Stanfordunlike Thus,is often and Irish culture was prominent was culture Irish and on vaude the 130 Aside folk from music the traditions of the restored were often performed (eds.), (eds.), Europe, Empire, and Spectacle in p cit., op. ------

54 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press the “distinguished English composer”. English “distinguished the nent composer” Irish English composers”. English Herald stands without arepresentative apeerstands as of music the of native his land.” and of most type the admirable notes Irishman an Stanfordalso that “is poser long Cambridge University”. connected with Jig of songs illustrations aperformancewith and of Stanford’s Fantasie Irish hosted by Friday the Morning Club which included apaper read along the musician”, composer reference School of English with the “a as to noted him English referred identity Stanforda dual at also here is times, and, to a as also late the nineteenth in century. America in community However, he retains sis upwardly and there identity mobile growing on Irish the and his Irish 136. 135. America. concerts in in 134. and ambitiousand of England’s composers”, notedof church He “one also as was listings. of most the serious, dignified composer”, Irish a“distinguished referring as composer to him Irish articles an with more are America poser in frequent. Stanford repeatedly is referred to as music of references English America, com in grammes Irish an as to him ences in quarters in which they have which they in ences never quarters in been suggested before.” influ Charles “Sir that StanfordIrish he that thoroughly finds Irish as is 139. 138. 137. 140. 147. 146. 145. 144. 143. 142. 141. op. 54 no. 3. reports on reports aconcert Herald ofWashington national music of Ireland Stanford’s popularity in America may be due in part to an emphaStanford’s may to America an in bedue part popularity in While Stanford’sWhile music chosen regularly for was inclusion pro in See forSee example Anon., “Article”, Wilton Bulletin CT Anon., “Article”, Washington Herald featured regularly inconcert listings. Plays Elsewhere”, BuffaloCourier, 13 May 1889, p. 6. One such concert was reported on inAnon., “A of Concert Irish Music at Academy the – Anon., “Philharmonic Society”, York New Tribune Anon., “Music, Stanford’s Irish Symphony”, New York Daily Tribune, 23 January 1888,n. p. for Tennyson’s ‘Becket’, Rubinstein as Conductor”, New York Times, 19February 1893,n. p. of Music City in this –What Composers the are Doing Here and Abroad –Stanford’s Music Anon., “A Week’s Musical Topics. Gossip House of Opera the and Hall. Concert the Programme B.B. Young, “Article”, Herald Lake Salt Ibid. Ibid. H.E. Krehbiel, “Folksongs and Music’s Future”, cit., art. p. 3. Anon., “Opera inLondon”, The New York Herald, 2May 1884,p. 7. 1924, p. 13. Anon., “Sir CVStanford, Noted Irish Composer, Dead”, Albany NYEvening Journal, n. p. Anon., “Famous of Irish the Ballads Bards”, Telegram Morning NY Elmira Anon.,Concert “Fifth the of SymphonySociety”, cit., art. p. 2. “Damrosch Remembers Erin’s Day”, The Evening World, 18March 1912,p. 22. Anon., “Musical Comment, Grief as aWriter for Orchestra”, cit., art. noted that Stanford was “by far the mostnoted the promising far Stanford that “by of was young the 136 141 or well-known composer, English “an Irish composer “an Irish of prominence”, deserved 135 140 143

, “the noted, “the composer”, Irish 134 Concerts of music Concerts Irish were and popular also , 19March 1911,p. 6. , 18May 1884,p. 11. 139 138 Young for Salt Lake the writing “a noted musician” English and , 13 October 1918,p. 4., 13October His arrangement of , 1895,n. p. 137 particularly in the case case the in particularly 145 144 Krehbiel comments comments Krehbiel and an “Irish com an and p. 16. See also Anon., also See p. 16. 142 My Love’s an Arbutus , and an “emi an and 18 October 1903, 18 October 29 March 146 He He 147 ------

55 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Irish and too German for too and German both. Irish have noted Stanford that for for too too was Irish English English, the the pers echoes comments made by recent who including Klein writers Axel arranging Irish ballads”. Irish arranging musician”, reside.they One reference which notes Stanford or “English rather as Irish or which a belief composers that in of country nationality the the inherit century.eth Thereas is a lack to understanding Stanford’sof nationality twentithe flowof the start at cultural transatlantic the understanding musical anumber press of illustrates interpretations relevant are that to this material in an artistic form than anyone form than else” artistic an in material this donenotes folksongs. work has his Irish Aldrich “he that more with with greatest triumphs for press Stanford America the recognition the is in of influences Germanic featured Rather,prominentlyAmerica. in onethe of 155. 154. 153. 152. 151. 150. 149. 148. try”, more any other since Moore than to national revive the music of coun his the finest finest thethe of largerin works‘national’ forms.” symphony of nativetreasures his this isle; in and he produced has one of musicalnoted the who knew Stanford music Irishman “written has an as emphasis placed on work folk music the his with of Ireland. One writer to Ireland felt is more strongly, considering significant the particularly perceived press identity American it link the dual does his in appear that lications such Shaw, as it Stanford’s was which appears to Irishness have of descent. middle to class Irish Stanford agrowing appealing was compositions undoubtedly critics the infused believed time, that at this perceivedhis of Irish identity his some given popularity in the quarters, Despite America. in confusion the overclearly living appealed Irish to the written that amounts that to anything. written O’Brien, who wrote Shamus Englishman an was identity some Interestingly San Francisco in the quarters. noted Call it that the spirit of Celtic folksong which artistic music spiritthe of Celtic produced.” folksong has which artistic second movement Symphony of “Irish” the to finest be“the monument to 154 The inconsistentThe presentationthe in of StanfordIrish English as or Few of Stanford’s more “serious” compositions which represent his Anon., “Famous of Irish the Ballads Bards”, cit., art. n. p. Kentucky Irish America, March 1900,n. p. Anon., “Ireland. Record of Most the Important of Recent the Events Culledfrom Exchanges”, Richard “The Aldrich, New York Symphony”, cit., art. p. 7. H.E. Krehbiel, “Irish Symphony Brings Message”, cit., art. p. 9. Composers”, cit., art. n. p. A Programme Anon.,of Society: Philharmonic “The Music by British and American 2001, p. 145. Axel Irish Klein, Classical Recordings: ADiscography of Irish Art Music, Anon., “Article”, San Francisco Call , 6February 1898,p. 27. Anon.,Foreign “The Stage.London”, cit., art. p. 15. While Stanford’sWhile academicism noted pub was English by in critics while it noted for was while invaluable he “famous that his was work in 148 demonstrates there confusion that was over perceived his 155 Stanford’s music his in of folklorism use Irish 150 149 Despite presentation the of Stanford’s Such newspa confusion American in the only Irish opera only Irish the ever 151 Krehbiel believed the 153 and he “has done he and “has Westport, Greenwood, 152 - - - -

56 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press completed opera The TravellingCompanion. New York the in writer the Tribune for aperformance called of recently his music. Stanford’s music obviously made 1919 some in America; impact in Stanford epitomised which may Irishness, have reflected opinions his of believed they that that Concerto” “Irish Piano the as certo highlights flavourand Irish a an suggestionsecond his to christen with conPiano music Irish and continued the and reference to works those by Stanford ership. Writings press American underline the perceptions in of Stanford composeralistic may have made Stanford more relevant read Irish to an gage. All at once,gage. Stanford’s All music becomes, for audiences, his asymbol bag political and interpretations and ties on own cultural based their reach beappreciated and by different audiences who identi construct potential the for Stanford’s highlight turn musicin to simultaneously Stanford’s complicates music issue may but the further America in this reception the providing of clarity, answers. than Rather examining easy land’”. tenor paramount sonic “the as representation home ‘civilised of Irish the differentsections society,of the emergence perhapsto similar the Irish of increasing politics consciousness appealed to of cultural nationalism in treatment and ofhandling folk melodies compositions. his in However, ception composer of Irish much Stanford an as with for praise skilful his placed critics press. greaterthe American Instead, emphasis on per the place among continued composers with reference England in in to this for Stanford had of his century twentieth to the struggle pers. turn By the Stanford’s newspa American British in Musical place the Renaissance in lack of the is criticism at emphasis time that American and placed on ences, conductors Another notable critics. and difference English between astrongsecured position audi among America for American in him 157. 156. Williams, few have reached conclusions. clear of music his America. in 1915. Stanford It if not was unfortunate is aware of positive the reception spondence Horatio with Parker relation in proposed to his to visit Yale in from period that does not include reference save to America, for corre the interest correspondencethe music being shown his Extant in America. in reputation Itdeclining England. not is in evident Stanford if aware was of Philharmonic Society in 1911. in Society Philharmonic audiencesAmerican for “request” a special to programme be given by the favoured audiences, by by choices the American highlighted submitted by one symphonies, of three including by those Tchaikovsky Dvořák and 158. 159. Many commentators reflect on Stanford’s identityas a composer but Anon., “Philharmonic Society”, New York Times Anon., “Article”, York New Tribune E. Hunt, op. cit.; H.White, op. cit.; J. Dibble, op. cit.; P. Rodmell, op. 156 Critics in America noted America Critics in Stanford’s that Symphony “Irish” op. cit., p. 605. 157 , 31August 1919,p. 5. The construction of Stanfordas a nation 159 Perhaps it because there is no are , 26Feb 1911,p. x7. 158 Stanford aware was of his cit. ; J. White, op. cit . was was ------,

57 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Christianity, British colonization, and mass emigration”. mass and colonization, British Christianity, history, relationnamely in cultural ent Irish spreadto the through of the present. the of music Irish on later articulations in dialectic could and the inform tury onate O’Flynn’s with of music Irish Irishness the concerns over with acen of sounds implicated identities with of nationhood. Such dichotomies res of folkuse melodies Irish for international audiences enjoying adiversity icised for over-reliance an approaches or on Brahmsian German the and composer, Irish and who simultaneously is critiqued, celebrated crit and theof nationalism unionism,work and reflecting English, British an of 161. 160. unclear, inconsistencies the and of references the identity to his betray presscoverage American relates the or in is Britishness Irishness to his accoladesities, including the he both challenges that Whether and faced. ences were of informed thus Stanford’s on aspects various activ and career covered they and of arange matters relating to audi Stanford. American papers displays there interest that was among readership the Stanford in country. The level interestof in and his Stanford American news musicin to demonstrate spread the of appreciation for Stanford’s music across the newspapersEnglish such Times the as Yorksuch New the as Times, or indeed reproducing content from leading in larger more after shortly ing Americanewspapersreviews in substantial references to Stanford music, coverage his and with some in papers appear a number of While newspapersfocus of writings. include their only short it include critics does views, notAmerican some become prime similar the interpretation of Stanford’s music academic. and While traditional as Atlantic. identity on sides both lenge of of cultural the Irish simplistic analyses identity, chal of of characters, use Irish folk his melodies, portrayal and been considered. already has dichotomies The evident in Stanford’s own musical output impact of compositional the and his practice beyond what context provides this in which new to critique perspectives through his Placing across Atlantic. the Stanford’s artefacts musicexchange of cultural lens the of the and through globalisation examined may becritically Symphony of “Irish” reviews his reception particular in and America in Motherway reminds us that “globalizing processesMotherway pres “globalizing are that reminds us Ashgate, Susan Motherway, The Globalization of Irish TraditionalSong Performance, Aldershot, John O’Flynn, The Irishness of Irish Music, Farnham, Ashgate, 2014,p. 199. At the turn of century, were the critics At turn English the much harsher their in 160 2013,p. 1.

Conclusion , they are a useful source order in auseful are , they 161 Stanford’s Stanford’s ------

58 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press the USAthe period. that during between insights Ireland intovides circulation and of the culture popular provides for new insights into reception of composer studies the pro and pertinent newspapers opinions in analysing and and ofing writing critics by assess time allowed for at evaluation musical tastes this of an American coupled prominence the with given to some has works programmes, in ences informedthe about his The life. of of examination reviews his music, music ensured critics his that promoted American was America. audi and Stanford’s music received of attention publications avariety in across New York, of other examinations newspapers have demonstrated that examples. notable Henderson and regard, held those Aldrich high in especially being two fate the that of some compositions depend can on opinions the of critics, ofreviews some of Stanford’sandknown is it significant workswell also is were reviews their in often affordedThe similar. highlighted space to pointed music, they his while to and deficienciesthethemes thein music, on whole the England, ers were in critics most American supportive of newspapers Despite time. at numerous this contradictions between writ differences criticismto distinct of and Stanford’slarities musicEnglish in context America. in incomplete national identities Ireland a post-colonial and in diasporic and works must America in beunderstood context the in of competing and priated music his The for performance purposes. of political Stanford’s audiences or promoters, particular that organisations, such Irish appro as national therefore and identity. nationalist it some In may instances, be or,assured perhaps, heard “Irishness” of of music the his assertion an as were America, it in would not audience, his appear that as particularly beliefs, and political scholars on affiliation unionist agree Although his of century. twentieth the national identities at start America the the in more about how music his received of was European importance the and inconsistency evaluation ofpress. helps this Acritical to us understand concern what is fashionable is at America time. that in a confusion or lack of relevance for readership. Ostensibly, the main the 162. Despite the main focus of this paperDespite focus of on this newspapers main the state the of in simi both highlighted criticism has of American examination An Stanford identities various of American reviews ascribed is the the in the contextthe of American tastes and attitudes to opera at time. this The theuse Englishof language for his comic Shamusopera O’Brien may relevant be also in 162

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59 IMAGINAIRES#22 How Popular Culture Travels Commins – Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press