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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
Women Investors and the Virginia Company in the Early Seventeenth Century
The University of Manchester Research Women Investors and the Virginia Company in the Early Seventeenth Century DOI: 10.1017/s0018246x19000037 Document Version Accepted author manuscript Link to publication record in Manchester Research Explorer Citation for published version (APA): Ewen, M. (2019). Women Investors and the Virginia Company in the Early Seventeenth Century. The Historical Journal, 62(4), 853-874. https://doi.org/10.1017/s0018246x19000037 Published in: The Historical Journal Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:07. Oct. 2021 WOMEN INVESTORS AND THE VIRGINIA COMPANY IN THE EARLY SEVENTEENTH CENTURY* MISHA EWEN University of Manchester WOMEN INVESTORS Abstract. This article explores the role of women investors in the Virginia Company during the early seventeenth century, arguing that women determined the success of English overseas expansion not just by ‘adventuring’ their person, but their purse. -
London and Middlesex in the 1660S Introduction: the Early Modern
London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian. -
The Politics of Architecture in Tudor and Stuart London Transcript
The Politics of Architecture in Tudor and Stuart London Transcript Date: Thursday, 11 February 2010 - 12:00AM Location: Museum of London The Politics of Architecture in Tudor and Stuart London Professor Simon Thurley Visiting Gresham Professor of the Built Environment 11/12/2010 Tonight, and again on the 11 March, I will be looking at the interrelation of architecture and power. The power of kings and the power of government and how that power has affected London. On the 11th I will be looking at Victorian and Edwardian London but tonight I'm going to concentrate on the sixteenth and seventeenth century and show how Tudor and Stuart Monarchs used, with varying degrees of success, the great buildings of the City of London to bolster their power. The story of royal buildings in the City starts with the Saxons. Before 1052 English Kings had had a palace in London at Aldermanbury, but principally to avoid the instability, turbulence and violence of the populace Edward the Confessor, the penultimate English King, had moved his royal palace one and a half miles west to an Island called Thorney. On Thorney Island the Confessor built the great royal abbey and palace of Westminster. And it was here, that William the Conqueror chose to be crowned on Christmas day 1066, safely away from the still hostile inhabitants of the city. London was too big, powerful and independent to be much influenced by the Norman Conquest. Business continued unabated under a deal done between the city rulers and their new king. However William left a major legacy by establishing the metropolitan geography of the English monarchy - the subject of my talk this evening. -
London: Biography of a City
1 SYLLABUS LONDON: BIOGRAPHY OF A CITY Instructor: Dr Keith Surridge Contact Hrs: 45 Language of Instruction: English COURSE DESCRIPTION This course traces the growth and development of the city of London from its founding by the Romans to the end of the twentieth-century, and encompasses nearly 2000 years of history. Beginning with the city’s foundation by the Romans, the course will look at how London developed following the end of the Roman Empire, through its abandonment and revival under the Anglo-Saxons, its growing importance as a manufacturing and trading centre during the long medieval period; the changes wrought by the Reformation and fire during the reigns of the Tudors and Stuarts; the city’s massive growth during the eighteenth and nineteenth-centuries; and lastly, the effects of war, the loss of empire, and the post-war world during the twentieth-century. This course will outline the city’s expansion and its increasing significance in first England’s, and then Britain’s affairs. The themes of economic, social, cultural, political, military and religious life will be considered throughout. To complement the class lectures and discussions field trips will be made almost every week. COURSE OBJECTIVES By the end of the course students are expected to: • Know the main social and political aspects and chronology of London’s history. • Have developed an understanding of how London, its people and government have responded to both internal and external pressures. • Have demonstrated knowledge, analytical skills, and communication through essays, multiple-choice tests, an exam and a presentation. INSTRUCTIONAL METHODOLOGY The course will be taught through informal lectures/seminars during which students are invited to comment on, debate and discuss any aspects of the general lecture as I proceed. -
Shakespeare in London Show
© Museum of London 2017 This guide is designed to help KS2 teachers prepare for the Shakespeare in London ‘at your school’ show. Page 2 contains information for the lead teacher on preparing for the show to take place at your school. Pages 3–6 contain information for you and your colleagues about what will happen during the show as well as ideas for teaching resources to use in class both before and afterwards. Shakespeare in London show KS2 resources © Museum of London 2017 School organiser guidance © Museum of London 2017 Thank you for booking our Shakespeare in London show. Here is some information about the show and what you need to do to prepare for it taking place at your school. Overview Introduce your pupils to the life and works of England’s most famous writer in this dramatic show, perfect for large key stage 2 groups. Imagine the sights, sounds and smells of London in 1604 and meet William Shakespeare in his city lodging house. Get acting tips from the man himself and help him conquer his writer’s block to create a play fit for a king! Preparing for the show Please use this checklist to help you to prepare for the show. Before the show • Book your school hall for the times agreed on booking (please check your booking confirmation email) • Please check that a laptop, projector and a CD player are available for the show and are working • Give copies of the ‘Information for adults’ to colleagues On the day • Set up the laptop, projector and CD player in the hall • Ensure that someone is available to meet the actors on arrival • Ensure actors have access to the hall, laptop, projector and CD player and somewhere to change into their costumes Timings • The actors will arrive one hour before the start of the show to set up • The show lasts approximately 45 minutes Shakespeare in London show KS2 resources © Museum of London 2017 2 Information for adults Please give a copy of this sheet to all adults who will be attending the show. -
The Festival of Britain 1951
BANK OF ENGLAND ISSUED BY THE COURT OF DIRECTORS ON THE OCCASION OF THE FESTIVAL OF BRITAIN 1951 Bank of England Archive (E6/8) The Bank of England completed III I939 to the design of Sir Herbert Baker Bank of England Archive (E6/8) [Copyright BUII/� 0/ Ellglalld HE BANK OF ENGLAND came into being to provide funds for the T war that was being fought between 1689 and 1697 by William III against Louis XIV of France. In return for a loan of £1,200,000 to the King the subscribers, who numbered 1,272, were granted a Royal Charter on the 27th July, 1694, under the title " The Governor and Company of the Bank of England ". The Bank of England Act of I 946 brought the Bank into public ownership, of the but provided for the continued existence of the " Governor and Company ; Bank of England " under Royal Charter. The affairs of the Bank are administered by the Court of Directors, appointed by the King and comprising a Governor and Deputy Governor, each appointed for five years, and 16 Directors, each appointed for four years. The Court may appoint four of their members as Executive· . Directors, who, together with the senior officials and a number of specialists as advisers, assist the Governors in the day-ta-day management of the Bank. Over the years the Bank of England has become the " bankers' bank ". and banker to the Government. The description " bankers' bank" indicates that the principal banks in the United Kingdom deposit with it their reserves of cash. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7. -
8. Festival Guide
8. Festival Guide Dr Harriet Atkinson is a leading historian of design and culture based at the University of Brighton. She is one of the foremost experts on the Festival of Britain. In this response she brings her extraordinary knowledge of this event to bear on a commonplace piece of Festival ephemera. In doing so she reveals powerful themes of patriotism, land, refugees, and a whole series of intersections between design and identity that feel as relevant today as they did seven decades ago. Ian Cox, The South Bank Exhibition: A Guide to the Story It Tells (London: HMSO, 1951) As memories of a day out at the Festival of Britain’s South Bank Exhibition faded, the guidebook was often the only thing that remained. A substantial, handsome book printed on luxuriously thick paper, it bore designer Abram Games’s Festival of Britain emblem, Britannia in profile, on the front cover. She was festooned with bunting and mounted on the four points of the compass indicating the nationwide reach of the events, all in the patriotic colours of the Union Jack. Cover of the Exhibition Guide featuring the Abram Games festival logo (MERL Library 1770-COX) What was this ‘magical city’, as one designer described the Festival’s London centrepiece, the South Bank Exhibition held from May to September 1951, this temporary world that so enchanted and amazed its visitors? And what kind of Britain do we encounter as we turn the Guide’s mustard cover seventy years on? 1 While advertising was banned at the South Bank Exhibition itself, here, in the Guide, was the chance to sell things to the Festival’s many visitors. -
Museum of London Annual Report and Financial Statements Year Ended 31St March 2012
Registered Charity No: 1139250 MUSEUM OF LONDON Governors’ Report and Financial Statements for the year ended 31 March 2012 Museum of London Annual Report and Financial Statements Year Ended 31st March 2012 CONTENTS Reference and administrative details 2 - 4 Annual Report 5 – 23 Independent Auditors’ Report 24 – 25 Consolidated Statement of Financial Activities 26 Consolidated Balance Sheet 27 Museum of London Balance Sheet 28 Consolidated Cash Flow Statement 29 - 30 Notes to the Financial Statements 31 - 52 1 Museum of London Annual Report and Financial Statements Year Ended 31st March 2012 REFERENCE AND ADMINISTRATIVE DETAILS Name Museum of London Address 150 London Wall London EC2Y 5HN Board of Governors A Board of Governors, consisting of 18 members of whom the Greater London Authority (GLA) (prior to April 2008: the Prime Minister) and the City of London Corporation (COL), each appoints 9 members, is responsible for the general management and control of the Museum. The following Governors served throughout the financial year, except where indicated. Appointed by the Kenneth Ayers (ceased to be a Trustee 22 March 2012) City of London Rt Hon the Lord Boateng P.C. D.L. Corporation Sir Steve Bullock (appointed 20 April 2011) Michael Cassidy CBE Rev Dr Martin Dudley Robert Dufton Tom Hoffman Julian H Malins QC John Scott (appointed 21 June 2012) Michael Welbank Appointed by the GLA Jennette Arnold (prior to April 2008 : by the Blondel Cluff Prime Minister) Rosemary Ewles Gillian Day (appointed 5 October 2011) Andrew Macdonald Camilla Mash Mark Palmer-Edgecumbe Eric Reynolds Eric Sorensen Administration Under the Museum of London Acts 1965 and 1986, the Board is required to appoint a Director of the Museum to be responsible to the Board for: . -
Jacquetta Hawkes, a Land (London: Cresset Press, 1951)
13. A Land In this piece, the brilliant Dr Amara Thornton shares her reflections on the 1951 work of trowel blazer Jacquetta Hawkes, who played a major role in presenting prehistory and landscape at the Festival of Britain. In doing so, Amara recontextualises an archaeological narrative—A Land—and reveals it as part of a Britain actively reshaped by post-war change. Jacquetta Hawkes, A Land (London: Cresset Press, 1951) Frontispiece and title page of Hawkes’ A Land, featuring a sketch by Henry Moore (MERL Library 1840-HAW) Jacquetta Hawkes’ Festival Lands Published a month after the opening of the Festival of Britain, Jacquetta Hawkes' book A Land (1951) has been said to compliment her work as "Theme Convenor" for the Festival's People of Britain pavilion. Her exploration of British archaeology and geography was writ large through the physical display, the introductory section to the Festival's "Downstream Circuit". This part of the Festival defined 'Britain' through the artefacts in its landscape, its attitudes, literature, society, culture, sport, and technological innovations. Hawkes' book, and her pavilion, were focused on the deep history of the British Isles, emerging from the landscape through the painstaking process of excavation and interpretation. She is now primarily remembered for her engagement with and ruminations on Britain and its archaeology. This included a BBC Radio series in 1935 entitled "Ancient Britain Out of Doors", subsequently published in The Listener, and her books Prehistoric Britain (1943, co-authored with husband Christopher Hawkes) and Early Britain (1945) before the publication of A Land (followed later in 1951 by her Guide to the Prehistoric Monuments of England and Wales). -
Plague in Elizabethan and Stuart London: the Dutch Response
Medical History, 1990, 34: 424-439. PLAGUE IN ELIZABETHAN AND STUART LONDON: THE DUTCH RESPONSE by OLE PETER GRELL * Plague was, without doubt, the most devastating disease that could hit an urban community in the early modern period. It was a regular visitor to London for three centuries from the Black Death of 1348 until its last outbreak in 1665. Its most terrifying impact was obviously felt when major epidemics occurred in the City-as they did in 1563, 1593, 1603, 1625, 1636, and finally in 1665. Nearly a quarter of London's inhabitants died in 1563 and more than 80,000 in the last epidemic in the metropolis in 1665-almost 20 per cent of the City's population. Apart from these major outbreaks, plague persisted in London during most ofthe intervening years in a milder, more endemic form. Between 1563 and 1665-the first period for which we have reasonable data, thanks to the Bills ofMortality, it was only absent from the City from 1616 to 1624 and again from 1650 to 1664.' I will concern myselfwith the social response to plague within the Dutch community in London, whose provision for and care ofinfected members has been held up as "an example of foreign civility close to home" by Paul Slack in his recent study on the impact ofplague in Tudor and Stuart England. I hope not only to expand this verdict, but also to modify it substantially. Accordingly, I shall attempt to demonstrate how and why this exceptional system, introduced by the London Dutch church during the plague of 1563, for the care and reliefofplague-ridden members, was allowed to decay under the early Stuarts.