Vocal Concerts

Last updated September 28, 2019

The "Vocal Concerts" were subscription concerts in London, given from 1792 to 1794 and from 1801 to 1821. Leading singers of the day performed at the concerts.

History

Establishment

The Vocal Concerts were established by Charles Knyvett and Samuel Harrison; they were singers who had both performed at the Concerts of Antient Music. The first concert was given on 11 February 1792 at Willis's Rooms.^[1]^[2]

Charles Knyvett was an English singer and organist. He established in 1791 in London the Vocal Concerts, a series of subscription concerts.

Samuel Harrison was an English singer. A tenor, he sang in notable concerts of the day, including the Concerts of Antient Music and the Three Choirs Festival.

The Concerts of Antient Music, also known as the Ancient Concerts or The King's Concerts, were an influential concert series put on annually in London from 1776 to 1848. The concerts consisted solely of music composed at least twenty years previous. The concerts had aristocratic or royal sponsorship and featured some of the best musicians of the day. At first twelve concerts were given each year; in 1785 a thirteenth concert, a performance of Handel's Messiah to benefit retired musicians, was added at King George III's command.

They were well received and became fashionable; a second series, as well attended as the first, took place during the same season. They were at that time "... entirely vocal, for neither overture nor concerto was played, and the whole instrumental band was limited to two violins, a tenor [viola], and a violoncello, with a pianoforte for the accompaniment of songs and glees. Mr and Mrs Harrison, and Mr Bartleman were the solo singers, and the rest of the entertainment consisted of glees and a few catches sung by the most celebrated English vocalists of the day.... Mr Knyvett presided at the pianoforte. The subscription was three guineas for eight concerts...."^[3]

James Bartleman (1769–1821), was an English bass singer who performed at the Concerts of Ancient Music and revived the solo songs of Henry Purcell.

A glee is an English type of part song spanning the late baroque, classical and early romantic periods. It is usually scored for at least three voices, and generally intended to be sung unaccompanied. Glees often consist of a number of short, musically contrasted movements and their texts can be convivial, fraternal, idyllic, tender, philosophical or even (occasionally) dramatic. Their respectable and artistic character contrasts with the bawdiness of many catches of the late 17th century, which were thought inappropriate in female company. Although most glees were originally written to be sung in gentlemen's singing clubs, they often included soprano parts—which were sung by boys in earlier years, and later by ladies who were often present, although only as guests. Glees as described above fall into a different musical category from traditional college songs or fight songs.

In music, a catch is a type of round or canon at the unison. That is, it is a musical composition in which two or more voices repeatedly sing the same melody, beginning at different times. Generally catches have a secular theme, though many collections included devotional rounds and canons.

The concerts were influenced by the founders' background with the Concerts of Antient Music; but recent vocal works were also performed, by composers including John Wall Callcott, William Crotch and Reginald Spofforth. In the second year there were ten concerts. The concerts were discontinued in 1794, as the subscription had fallen off; the principal singers returned to the Ancient Concerts.^[4]

John Wall Callcott was an eminent English composer.

William Crotch was an English composer and organist.

Reginald Spofforth was an English musician. He was born in Southwell, Nottinghamshire but moved to London around 1790. He was active as an organist, conductor and music teacher, but he is best remembered as a composer. His best known works are the glees Hail Smiling Morn and Hark! the Lark at Heaven's Gate Sings, which are included in a number of recent collections of part-songs.

Revival

In 1801, with Thomas Greatorex and James Bartleman, Charles Knyvett revived the Vocal Concerts. ^[5] There was a larger orchestra, led by Franz Kramer, and a chorus, and there were additional solosts. The general conductor was Thomas Greatorex at the organ. The subscription was four guineas for the season of nine concerts. Charles Knyvett withdrew from the management in 1803, but continued to perform at the concerts.^[6]

Thomas Greatorex was an English composer, astronomer and mathematician. As well as being organist of Westminster Abbey, he was a Fellow of the Royal Society.

Franz Kramer was a seaman serving in the United States Navy during the Spanish–American War who received the Medal of Honor for bravery.

In 1803 Elizabeth Billington became the principal female singer: "the attraction of her name was such that the subscription... closed some days before the concerts commenced". She retired in 1810, and was succeeded by Angelica Catalani. In 1814 the concerts moved to the Hanover Square Rooms.^[3]

Elizabeth Billington was a British opera singer.

Angelica Catalani was an Italian opera singer, the daughter of a tradesman. Her greatest gift was her voice, a soprano of nearly three octaves in range. Its unsurpassed power and flexibility made her one of the greatest bravura singers of all times. She also worked as a singing teacher. Her pupils included Laure Cinti-Damoreau and Fanny Corri-Paltoni.

The Hanover Square Rooms or the Queen's Concert Rooms were assembly rooms established, principally for musical performances, on the corner of Hanover Square, London, by Sir John Gallini in partnership with Johann Christian Bach and Carl Friedrich Abel in 1774. For exactly one century this was the principal concert venue in London. The premises were demolished in 1900.

By 1821 musical tastes had changed, and instrumental music was preferred. "Glees, English ballads, and the whole ancient school of vocal music, had gone gradually out of favour.... The establishment and rapid increase of the Philharmonic, however, may be considered as the more immediate cause of the failure of the Vocal Concerts." In 1819 and 1820 the series was of six concerts, and in 1821 they came to an end.^[6]

The Royal Philharmonic Society is a British music society, formed in 1813. It was originally formed in London to promote performances of instrumental music there. Many distinguished composers and performers have taken part in its concerts. It is now a membership society, and while it no longer has its own orchestra, it continues a wide-ranging programme of activities which focus on composers and young musicians and aim to engage audiences so that future generations will enjoy a rich and vibrant musical life. Since 1989 it has promoted the annual Royal Philharmonic Society Music Awards for live music-making in the United Kingdom. The RPS is a registered UK charity No. 213693. It is located at 48 Great Marlborough Street in London.

Related Research Articles

Maria Hester Park was a British composer, pianist, and singer. She was also a noted piano teacher who taught many students in the nobility, including the Duchess of Devonshire and her daughters.

William Knyvett (1779–1856) was a British singer and composer of the 19th century.

Harriett Abrams was an English soprano and composer. Particularly praised for her performances in the repertoire of George Frideric Handel, Abrams enjoyed a successful concert career in London during the 1780s. Music historian Charles Burney praised the sweetness of her voice and her tasteful musical interpretations.

Charles Hague (1769–1821) was an English violin player, who became professor of music at Cambridge University.

The New Philharmonic Society was a British music society, established in 1852, giving annual series of subscription concerts of orchestral music in London until 1879. The concerts in the first season were conducted by Hector Berlioz.

Thomas Ludford Bellamy (1770–1843) was an English singer, also for a time a theatre manager.

Charles Neate was a British pianist and composer, and a founder member of the Royal Philharmonic Society. From 1815 to 1816 he lived in Vienna and became a friend of Ludwig van Beethoven. He publicised the music of Beethoven and other composers of the time at the Philharmonic Society.

Lindsay Sloper was an English pianist and composer.

George Loder was an English conductor, and composer of orchestral music, operas and songs. During his career he lived in England, America and Australia; he conducted the first U.S. performance of Beethoven's Symphony No. 9.

John Sale was an English bass singer of church music, and a singer and composer of glees.

Henry Phillips (1801–1876) was an English singer, who took on operatic roles in the 1820s and 1830s.

Thomas Forbes Walmisley was an organist, and a composer of church music and of glees.

William Thomas Parke was an English oboist and composer. He played in notable concerts of the day; in retirement he published Musical Memoirs.

The "Professional Concerts" were subscription concerts established in 1783 and given at the Hanover Square Rooms in London. Leading musicians of the day performed at the concerts.

Thomas Vaughan was an English singer. A tenor, he sang in prominent concerts of the day.

The British première of Beethoven's Symphony No. 9, also known as his "Choral Symphony", took place in London at the Argyll Rooms on 21 March 1825. The concert was given by the Philharmonic Society, who had commissioned the work.

References

↑ Middleton, Louisa M. (1891). "Harrison, Samuel" . In Stephen, Leslie; Lee, Sidney (eds.). Dictionary of National Biography . 25. London: Smith, Elder & Co. p. 39.
↑ Husk, William H. (1900). "Knyvett, Charles" . In Grove, George (ed.). A Dictionary of Music and Musicians . London: Macmillan and Company.
1 2 "The Vocal Concerts". The Quarterly Musical Magazine & Review. 1 (4): 458–465. 1818 – via RIPM.
↑ "Vocal Concerts". The Harmonicon . 9 (8): 186–187. August 1831 – via RIPM.
↑ Sharp, Robert Farquharson (1892). "Knyvett, Charles" . In Lee, Sidney (ed.). Dictionary of National Biography . 31. London: Smith, Elder & Co. pp. 340–341.
1 2 "Vocal Concerts". The Harmonicon. 9 (10): 238–239. October 1831 – via RIPM.

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.

[harrison-1] Middleton, Louisa M. (1891). "Harrison, Samuel" . In Stephen, Leslie; Lee, Sidney (eds.). Dictionary of National Biography . 25. London: Smith, Elder & Co. p. 39.

[knyvettdmm-2] Husk, William H. (1900). "Knyvett, Charles" . In Grove, George (ed.). A Dictionary of Music and Musicians . London: Macmillan and Company.

[quarterly-3] 1 2 "The Vocal Concerts". The Quarterly Musical Magazine & Review. 1 (4): 458–465. 1818 – via RIPM.

[harmonicon1-4] "Vocal Concerts". The Harmonicon . 9 (8): 186–187. August 1831 – via RIPM.

[knyvett-5] Sharp, Robert Farquharson (1892). "Knyvett, Charles" . In Lee, Sidney (ed.). Dictionary of National Biography . 31. London: Smith, Elder & Co. pp. 340–341.

[harmonicon2-6] 1 2 "Vocal Concerts". The Harmonicon. 9 (10): 238–239. October 1831 – via RIPM.