As Temperley conveys, it is absolutely unbelievable that Victorian England should bring so much to the music industry without leaving a lasting musical impression. Temperley asks, “If music meant to much to the British in the nineteenth century, why has the twentieth shown so little interest in the music they produced?”[1] The author suggests that this lack of a musical legacy might have resulted from the country’s lack of political motive, as much of the music of the 19th century was inspired by a country’s struggle/transformation. The choral societies of Britain, although essential to reviving music of the past, also kept music in the past. The music of Handel, Bach, and Mendelssohn prevailed. Lastly there is the societal expectation that women should study music, but that music should not become a woman life’s work. I loved Temperley’s section on the Italian opera in Britain. While I knew that Italian opera was well received, I had no idea that Covent Garden solely produced Italian opera. Temperley writes, “Together with this affectation of Italian taste came the aristocratic idea that music was no pursuit for a gentleman, except as a dilettante.”[2] This idea develops further when discussing William Sterndale Bennett’s pursuits in music, which were stifled by British society. While Britain enjoyed classical music, the country did not consider it a worthy career, even for a man.
I also appreciated Temperley’s thoughts on chamber music, with the audience’s whispered affirmations and snooty applause. This commentary directly relates to classical audiences today. I attended Anne Sofie von Otter’s recital last night, and after reading this article, was struck by the hums, sighs, and sniffling between songs and what each sound might signify. It would be fascinating to read about the anthropology of a classical music concert.
Temperley writes, “Serious Victorian music is a Lost Chord: the sound of it is out of our reach, in a way that the sight and message of other Victorian arts is not.”[3] It is not that Britain did not have creative minds and musical geniuses. It is more so that society did not nurture and encourage these souls, nor consider them essential to their country’s history. This makes me think about if Brahms, or Mahler, or Faure were British citizens, whether their music would have been lost in the sands of time as well.
I want to read about "the anthropology of a classical music concert"! Can you imagine, comparing the opera to chamber music concerts to halftime shows?
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