By location |
---|
By genre |
By topic |
| |||
---|---|---|---|
+... |
This is a summary of 1900 in music in the United Kingdom.
Sir Edward William Elgar, 1st Baronet, was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Sir Henry Walford Davies was an English composer, organist, and educator who held the title Master of the King's Music from 1934 until 1941. He served with the Royal Air Force during the First World War, during which he composed the Royal Air Force March Past, and was music adviser to the British Broadcasting Corporation, for whom he gave commended talks on music between 1924 and 1941.
Sir Charles Villiers Stanford was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.
The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term "oratorio" for the work, though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work, and some consider it his masterpiece.
Johann Baptist Isidor Richter, or János Richter was an Austro-Hungarian orchestral and operatic conductor.
Classical music of the United Kingdom is taken in this article to mean classical music in the sense elsewhere defined, of formally composed and written music of chamber, concert and church type as distinct from popular, traditional, or folk music. The term in this sense emerged in the early 19th century, not long after the United Kingdom of Great Britain and Ireland came into existence in 1801. Composed music in these islands can be traced in musical notation back to the 13th century, with earlier origins. It has never existed in isolation from European music, but has often developed in distinctively insular ways within an international framework. Inheriting the European classical forms of the 18th century, patronage and the academy and university establishment of musical performance and training in the United Kingdom during the 19th century saw a great expansion. Similar developments occurred in the other expanding states of Europe and their empires. Within this international growth the traditions of composition and performance centred in the United Kingdom, including the various cultural strands drawn from its different provinces, have continued to evolve in distinctive ways through the work of many famous composers.
Cyril Bradley Rootham was an English composer, educator and organist. His work at Cambridge University made him an influential figure in English music life. A Fellow of St John's College, where he was also organist, Rootham ran the Cambridge University Musical Society, whose innovative concert programming helped form English musical tastes of the time. One of his students was the younger composer Arthur Bliss, who valued his tuition in orchestration. Rootham's own compositions include two symphonies and several smaller orchestral pieces, an opera, chamber music, and many choral settings. Among his solo songs are some settings of verses by Siegfried Sassoon which were made in co-operation with the poet.
Sir August Friedrich Manns was a German-born British conductor who made his career in England. After serving as a military bandmaster in Germany, he moved to England and soon became director of music at London's Crystal Palace. He increased the resident band to full symphonic strength and for more than forty years conducted concerts at popular prices. He introduced a wide range of music to London, including many works by young British composers, as well as works by German masters hitherto neglected in England. Among his British protégés were Arthur Sullivan, Charles Villiers Stanford, Hubert Parry, Hamish MacCunn, Edward Elgar and Edward German.
John Alexander Fuller Maitland was an influential British music critic and scholar from the 1880s to the 1920s. He encouraged the rediscovery of English music of the 16th and 17th centuries, particularly Henry Purcell's music and English virginal music. He also propounded the notion of an English Musical Renaissance in the second half of the 19th century, particularly praising Charles Villiers Stanford and Hubert Parry.
The Song of Hiawatha, Op. 30, is a trilogy of cantatas written by Samuel Coleridge-Taylor between 1898 and 1900. The first part, Hiawatha's Wedding Feast, was particularly famous for many years and made the composer's name known throughout the world.
William Stockley's Orchestra was a symphony orchestra based in Birmingham, England from 1856 to 1899. It was the first permanent orchestra formed of local musicians to be established in the town, in contrast to the earlier Birmingham Festival Orchestra, which consisted largely of outside musicians and only performed during the Birmingham Triennial Music Festival.
This is a summary of 1920 in music in the United Kingdom.
This is a summary of 1917 in music in the United Kingdom.
This is a summary of 1911 in music in the United Kingdom.
This is a summary of 1905 in music in the United Kingdom.
This is a summary of 1904 in music in the United Kingdom.
This is a summary of 1903 in music in the United Kingdom.
This is a summary of 1902 in music in the United Kingdom.
This is a summary of 1901 in music in the United Kingdom.
The Blue Bird is a partsong composed by Charles Villiers Stanford in 1910. It is set to the words of L'Oiseau Bleu, a poem by Mary Elizabeth Coleridge, which depicts a bluebird in flight over a lake. It is written for soprano, divided altos, tenor and bass. "The Blue Bird" is the third of Stanford's Eight Part Songs which are all settings of texts by Coleridge. It was widely performed by choral societies in England during Stanford's life and is considered one of the best English partsongs ever written. It has been recorded by ensembles including The Cambridge Singers, Oxford Camerata, Tenebrae, and the Gabrieli Consort.