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University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music The Arrangement to Play: Music at Uppark in the Long Nineteenth Century Volume 1 of 1 by Wendy Stafford Thesis for the degree of Doctor of Philosophy August 2018 UNIVERSITY OF SOUTHAMPTON Abstract FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy THE ARRANGEMENT TO PLAY: MUSIC AT UPPARK IN THE LONG NINETEENTH CENTURY Wendy Stafford ‘The arrangement to play’ examines the intersections between the ‘musical’ and ‘social’ dimensions revealed in this study of more than 500 pieces of previously uncurated nineteenth- century sheet music. The listing of the music scores owned by women residents at Uppark is the basis for an investigation into the content, composition, acquisition and other associated aspects of this domestic repertoire, which is dominated by music for solo piano and many arranged (rather than original) items. A review of one of the residents and owners of Uppark, Frances Bullock (1818-1895), develops the profile of an aristocratic woman’s music collection with some detailed analysis of the music she owned, and its musical and historical contexts. This indicates the significance of social aspects and functions of her repertoire, including the role played by gifts of sheet music which she received. I look at how the scores draw the domains of concert hall, stage and popular music into the home, resulting in musical and social connections. My exploration of the compositions and career of Brinley Richards, a Welsh proponent of piano arrangements, illustrates the opportunities afforded to him by the emerging economy of industrialised Britain, and the consequences of that for domestic repertoire. His acquaintance with Frances Bullock provides a particular vignette of the intersection of musical and social life in the nineteenth century. This exploration of the profiles and activities of a domestic performer and domestic composer, developed from the domestic repertoire of one country house, reveals not only the variety of scores but equally significantly the several roles and functions of the music, whose visibility is brought out through the use of a multi-dimensional perspective. This affirms the rationale for wider terms of reference in the exploration of the comparatively unresearched, and sometimes trivialised, domestic repertoire. i ii Contents Abstract ............................................................................................................................................. i Contents .......................................................................................................................................... iii List of Images .................................................................................................................................. vi List of Charts ................................................................................................................................... ix List of Tables .................................................................................................................................... x Declaration of Authorship ............................................................................................................. xiii Acknowledgements ....................................................................................................................... xiv Abbreviations and Notes ................................................................................................................ xv Introduction ..................................................................................................................................... 1 Chapter 1 The House and its People ............................................................................................. 21 1.1 The Owners of Uppark ....................................................................................................... 21 1.2 The House ........................................................................................................................... 25 1.3 The People at Uppark and their Music .......................................................................... 29 1.4 In conclusion ................................................................................................................. 49 Chapter 2 The Music at Uppark .................................................................................................... 53 2.1 The Music at Uppark: An accumulation rather than a collection? ...................................... 54 2.2 The Background to this Study ....................................................................................... 59 2.3 The Uppark Study ................................................................................................................ 62 2.4 The Uppark Music ............................................................................................................... 66 2.5 Composers represented in the Uppark Music ..................................................................... 69 2.6 The Piano Music .................................................................................................................. 71 2.7 Vocal Music Scores at Uppark .............................................................................................. 79 2.8 The Remainder of the Uppark Music .................................................................................. 94 2.9 Gathering the Uppark Accumulation ............................................................................ 99 Chapter 3 Frances Bullock and her Music ................................................................................... 113 iii 3.1 Introduction ..................................................................................................................... 113 3.2 The Time Frame of Frances Bullock’s Music ..................................................................... 115 3.3 Developing an Approach to Analysis ................................................................................ 118 3.4 Review of the Types of Music..................................................................................... 120 3.5 The Social Dimension ....................................................................................................... 133 3.6 Origins of the Repertoire ............................................................................................ 138 3.7 Arrangements ................................................................................................................... 147 3.8 The Challenge of ‘the popular’ ......................................................................................... 150 3.9 Gifting ............................................................................................................................... 155 Chapter 4 Brinley Richards: A ‘Capital’ Composer? .................................................................... 177 4.1 Introduction ..................................................................................................................... 177 4.2 Brinley Richards – One of the capital class? ..................................................................... 178 4.3 The Music of Brinley Richards at Uppark .......................................................................... 186 4.4 Dedicatees of Brinley Richards’ music .............................................................................. 201 4.5 The use of National Airs ................................................................................................... 205 4.6 Provincial and National Perspectives................................................................................ 214 4.7 Brinley Richards and the Market Place ............................................................................. 216 4.8 The Capitalist Era and Domestic Repertoire ..................................................................... 222 4.9 The Reputation of Brinley Richards and Contemporary Opinion ...................................... 225 Conclusions ................................................................................................................................. 231 Appendices .................................................................................................................................. 239 Appendix A - The Uppark Music Database .............................................................................. 240 Appendix B - Music Belonging to
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