Vocal Concerts

Last updated September 14, 2024

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]

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]

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]

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]

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]

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 British Concerts were then established to fill their place in 1823.^[7]

Related Research Articles

Elizabeth Billington was a British opera singer.

William Knyvett 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 was an English violinist and composer, who became professor of music at Cambridge University.

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.

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.

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.

Theodosia Garrow was an English contralto who performed with her sisters, Harriett, Eliza and Jane Abrams. She was considered, with Margaret Kennedy, the leading female contralto of her time, and abandoned a promising career upon her marriage.

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.

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.

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

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.

Charles Smith (1786–1856) was an English singer, known also as an organist, and a composer of theatrical music and songs.

Ernest Augustus Kellner was an English singer, pianist, teacher and composer. After performing under royal patronage at an early age, he studied in Italy and became a teacher and performer in England and Italy, also giving concerts elsewhere in Europe.

References

↑ Middleton, Louisa M. (1891). "Harrison, Samuel" . In Stephen, Leslie; Lee, Sidney (eds.). Dictionary of National Biography . Vol. 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 . Vol. 31. London: Smith, Elder & Co. pp. 340–341.
1 2 "Vocal Concerts". The Harmonicon. 9 (10): 238–239. October 1831 – via RIPM.
↑ Mackeson, Charles (1900). "British Concerts" . In Grove, George (ed.). A Dictionary of Music and Musicians . London: Macmillan and Company.

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 . Vol. 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 . Vol. 31. London: Smith, Elder & Co. pp. 340–341.

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

[7] Mackeson, Charles (1900). "British Concerts" . In Grove, George (ed.). A Dictionary of Music and Musicians . London: Macmillan and Company.

[1]

[2]

[3]

[4]

[5]

[6]

[7]