17:
206:. Hughes wrote: "Sullivan's frequent forays into what was viewed as the questionable realm of operetta removed him from the equation at once. Elgar was never a contender, with his unacademic, lower-middle-class background coupled with progressive tendencies, while "Fritz" Delius was simply not English enough." The same writer suggests that Fuller Maitland's aversion to Sir Frederic Cowen was due to anti-Semitism.
279:
51:, were said to have freed themselves from foreign musical influences, to have begun writing in a distinctively national idiom, and to have equalled the achievement of composers in mainland Europe. The idea gained considerable currency at the time, with support from prominent music critics, but from the latter part of the 20th century has been less widely propounded.
346:
In 1993, Robert
Stradling and Meirion Hughes argued that the proponents of the movement were "a self-appointed and self-perpetuating oligarchy" based at the Royal College of Music in London. Grove, Parry, and Vaughan Williams were "the dynastical figureheads of the renaissance establishment."
297:
ho am I that I should be believed, to the disparagement of eminent musicians? If you doubt that Eden is a masterpiece, ask Dr Parry and Dr
Mackenzie, and they will applaud it to the skies. Surely Dr Mackenzie’s opinion is conclusive; for is he not the composer of Veni Creator, guaranteed as
173:
is subdivided into two parts: "Book I: Before the
Renaissance (1801–1850)", and "Book II: The Renaissance (1851–1900)". Fuller Maitland's thesis was that although "it would be absurd to claim a place beside Beethoven or Schubert" for earlier British composers such as
217:
from 1898. This was another barrier between the renaissance movement and outsiders. Sullivan and Elgar regarded folk music as neither important nor interesting, and Elgar was further distanced from the renaissance set by his antipathy to
English music of the
193:
graduates, like Fuller
Maitland, and both were professors at music colleges. The writer Meirion Hughes describes Fuller Maitland's world as one of insiders and outsiders. Fuller Maitland rejected British composers who did not conform to his template, notably
306:
writes that the term "English musical renaissance" carries "the implicit proposition that
British music had raised itself to a stature equal to the best the continent had to offer"; among the continental composers of the period were
347:
Stradling and Hughes contended that this élite was single-minded to the point of ruthlessness in promoting its conception of
British music, sidelining all native composers who did not conform to its aesthetic views. The composer
359:
The contention of Fuller
Maitland and others that the "English musical renaissance" had brought British music into the world class is in contrast to the title of a 1904 book by the German writer Oscar Adolf Hermann Schmitz:
292:
in his capacity as a music critic mocked the notion of an
English musical renaissance led by Parry, Stanford and Mackenzie, describing their works as "sham classics" and characterising them as a "mutual admiration society":
351:
wrote that when he was a student at the Royal
College under Parry "it was considered scarcely decent to mention Sullivan's name with approval in the building". Elgar, about whom Fuller Maitland wrote tepidly, was hailed by
298:
excellent music by Professor Stanford and Dr Parry? You want to know who Parry is? Why, the composer of Blest Pair of Sirens, as to the merits of which you only have to consult Dr Mackenzie and Professor Stanford.
104:'s First Symphony he wrote that the work gave "capital proof that English music has arrived at a renaissance period." Bennett developed the theme in 1884, singling out for praise a now forgotten symphony by
269:
wrote, "Parry and Stanford are rapidly getting absolute control of all the music, sacred or secular, in England; and also over our provincial Festivals and Concert societies, and other performing bodies."
229:
Those identified as leading composers of the musical renaissance theory achieved positions of power and influence in the musical world. Mackenzie became principal of the
335:. That idea was controversial at the time and later, though it retained its adherents well into the 20th century. Eatock notes that as late as 1966,
443:
Fuller Maitland used the term "English" to include the Irish Stanford and the Scottish Mackenzie and all other non-English British composers.
214:
47:
was a hypothetical development in the late 19th and early 20th century, when British composers, often those lecturing or trained at the
909:
890:
142:
452:
Elgar called Tudor compositions "museum pieces". Sullivan was less dismissive of Tudor music; in a study of Sullivan's music,
809:
541:
166:
149:
131:
71:
63:
24:
711:
849:
Schaarwächter, Jürgen (2008). "Chasing a Myth and a Legend: 'The British Musical Renaissance' in a 'Land Without Music'".
189:
Fuller Maitland regarded Stanford and Parry as the pre-eminent composers of the renaissance. Both were upper-middle-class
175:
123:
59:
28:
312:
258:
145:
91:
316:
928:
760:
Eatock, Colin (2010). "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance".
262:
234:
230:
183:
48:
113:
105:
36:
186:, the centre of the renaissance theory, was founded explicitly "to enable us to rival the Germans".
878:
289:
282:
96:
669:
Onderdonk, Julian. "The English Musical Renaissance, 1860–1940: Construction and Deconstruction,"
866:
829:
739:
414:
182:, it was not absurd to do so for his favourite British composers of the late 19th century. The
905:
886:
837:
817:
797:
777:
731:
712:"Making an English Voice: Performing National Identity during the English Musical Renaissance"
179:
118:
858:
769:
723:
320:
203:
353:
332:
308:
250:
195:
162:
67:
16:
789:
453:
386:
348:
324:
79:
922:
743:
457:
328:
223:
213:. Stanford, Parry and Mackenzie were all founding members and vice-presidents of the
32:
461:
303:
278:
266:
254:
246:
242:
238:
219:
199:
101:
55:
20:
883:
Shaw's Music: The Complete Music Criticism of Bernard Shaw, Volume 2 (1890–1893)
376:
336:
75:
209:
A major concern of the movement was the collection and preservation of English
155:
The idea of an English musical renaissance was taken up by the music critic of
141:
773:
727:
600:
596:
592:
241:
as director, and Stanford was professor of composition, with pupils including
169:. The latter became the most assiduous proponent of the theory. His 1902 book
821:
801:
781:
735:
210:
157:
841:
544:
The English Musical Renaissance and the Press 1850–1914: Watchmen of Music
902:
The English musical renaissance, 1840–1940: constructing a national music
409:
The English Musical Renaissance 1840-1940: Constructing a National Music
190:
870:
343:, stated that the English musical renaissance was "an historical fact".
398:
The Music Makers: The English Musical Renaissance from Elgar to Britten
226:, which Fuller Maitland and others were enthusiastically propagating.
862:
277:
140:
15:
405:
The English Musical Renaissance: Construction and Deconstruction
54:
Among the composers championed by proponents of the theory were
372:
The classic histories of the English Musical Renaissance are:
607:, Oxford University Press, 2004, accessed 21 September 2011
419:
Modern British Music: The Second British Musical Renaissance
597:"Parry, Sir (Charles) Hubert Hastings, baronet (1848–1918)"
671:
Notes: Quarterly Journal of the Music Library Association
509:
Burton, Nigel. "Sullivan Reassessed: See How the Fates",
364:– "The Land without Music: problems of English society".
619:
Stainer, Sir John, quoted in Stradling and Hughes p. 52
74:, while it received further promotion from the critics
362:
Das Land ohne Musik: englische Gesellschaftsprobleme
564:Hughes, p. 143; and Stradling and Hughes, p. 140
90:The term originated in an article by the critic
593:"Mackenzie, Sir Alexander Campbell (1847–1935)"
295:
573:Kennedy, p. 8; and Stradling and Hughes, p. 41
513:, Vol. 141, No. 1873 (Winter, 2000), pp. 15–22
339:, successor to Hueffer and Fuller Maitland at
356:as "the first progressive English musician."
66:. Writers who propounded the theory included
8:
601:"Stanford, Sir Charles Villiers (1852–1924)"
904:. Manchester: Manchester University Press.
456:identifies occasional deliberate echoes of
285:, scourge of the English renaissance circle
900:Stradling, Robert; Meirion Hughes (2001).
665:
663:
536:
534:
532:
768:(1). University of California: 87–105.
605:Oxford Dictionary of National Biography
591:Carnegie, Moir, rev. Rosemary Firman.
476:
436:
403:Hughes, Meirion and Stradling, Robert.
627:
625:
484:
482:
480:
7:
496:
494:
460:and his slightly later contemporary
393:(London: Victor Gollancz Ltd., 1979)
383:(London: Secker & Warburg, 1966)
171:English Music in the XIXth Century
112:) and equally forgotten operas by
14:
794:The Music of Sir Arthur Sullivan
400:(New York: Schirmer Books, 1985)
651:The English Musical Renaissance
552:(2003) Vol 84 (3): pp. 507–09
391:The English Musical Renaissance
381:The English Musical Renaissance
1:
881:(1981). Dan Laurence (ed.).
885:. London: The Bodley Head.
673:, September 1995, pp. 63–66
407:(1993), revised 2nd ed. as
45:English Musical Renaissance
945:
94:in 1882. In his review in
774:10.1525/ncm.2010.34.1.087
728:10.1017/S1478572215000183
124:Charles Villiers Stanford
60:Charles Villiers Stanford
29:Charles Villiers Stanford
599:; and Firman, Rosemary.
31:(front r.) in 1910 with
814:Elgar: Orchestral Music
716:Twentieth-Century Music
609:(subscription required)
554:(subscription required)
300:
286:
263:Ralph Vaughan Williams
235:Royal College of Music
231:Royal Academy of Music
184:Royal College of Music
152:
49:Royal College of Music
40:
796:. London: Macmillan.
281:
144:
110:Scandinavian Symphony
19:
700:Schaarwächter, p. 57
500:Schaarwächter, p. 53
426:Notes and references
165:, and his successor
114:Arthur Goring Thomas
710:Owen, Ceri (2016).
167:J A Fuller Maitland
150:J A Fuller Maitland
132:Alexander Mackenzie
97:The Daily Telegraph
72:J A Fuller Maitland
64:Alexander Mackenzie
25:Alexander Mackenzie
762:19th-Century Music
595:; Dibble, Jeremy.
287:
237:, Parry succeeded
153:
41:
851:The Musical Times
550:Music and Letters
546:by Meirion Hughes
511:The Musical Times
302:The musicologist
215:Folk-Song Society
180:Sterndale Bennett
936:
915:
896:
879:Shaw, G. Bernard
874:
863:10.2307/25434554
845:
836:. London: Dent.
825:
810:Kennedy, Michael
805:
785:
748:
747:
707:
701:
698:
692:
689:
683:
680:
674:
667:
658:
657:in Eatock, p. 90
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527:
526:in Schaarwächter
520:
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267:Sir John Stainer
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893:
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857:(1904): 53–59.
848:
828:
816:. London: BBC.
808:
790:Hughes, Gervase
788:
759:
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653:(1966), p. 32,
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540:McHale, Maria.
539:
530:
522:Grove, George,
521:
517:
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492:
487:
478:
469:
468:
451:
447:
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438:
428:
396:Michael Trend.
370:
368:Further reading
354:Richard Strauss
276:
265:. The composer
251:Herbert Howells
163:Francis Hueffer
88:
68:Francis Hueffer
27:(front c.) and
12:
11:
5:
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649:Howes, Frank.
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584:
582:Hughes, p. 144
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454:Gervase Hughes
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394:
387:Peter J. Pirie
384:
369:
366:
349:Thomas Dunhill
275:
272:
224:Stuart periods
146:Joseph Bennett
106:Frederic Cowen
92:Joseph Bennett
87:
84:
80:Peter J. Pirie
35:(back r.) and
13:
10:
9:
6:
4:
3:
2:
941:
930:
929:English music
927:
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911:0-7190-5829-5
907:
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892:0-370-31271-6
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741:
737:
733:
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725:
722:(1): 77–107.
721:
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694:
688:
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679:
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666:
664:
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656:
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640:Eatock, p. 90
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613:
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603:, all in the
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488:Eatock, p. 88
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463:
459:
458:Thomas Morley
455:
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415:Karolyi, Otto
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33:Edward German
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901:
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682:Hughes, p. 3
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631:Shaw, p. 429
615:
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462:John Dowland
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304:Colin Eatock
301:
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290:Bernard Shaw
288:
283:Bernard Shaw
259:John Ireland
255:Gustav Holst
247:Frank Bridge
243:Arthur Bliss
239:George Grove
228:
208:
188:
170:
156:
154:
135:
127:
117:
109:
102:Hubert Parry
95:
89:
56:Hubert Parry
53:
44:
42:
21:Hubert Parry
691:Reed, p. 61
377:Frank Howes
337:Frank Howes
313:Tchaikovsky
76:Frank Howes
37:Dan Godfrey
23:(back l.),
830:Reed, W.H.
472:References
274:Dissention
222:and early
211:folk songs
148:(top) and
128:Savonarola
86:Conception
822:252020259
802:500626743
782:0148-2076
744:191680798
736:1478-5722
341:The Times
176:Macfarren
158:The Times
119:Esmeralda
39:(front l.
923:Category
871:25434554
832:(1946).
812:(1970).
792:(1959).
542:Review:
325:Bruckner
196:Sullivan
191:Oxbridge
842:8858707
754:Sources
333:Puccini
136:Columba
908:
889:
869:
840:
820:
800:
780:
742:
734:
655:quoted
524:quoted
421:(1994)
411:(2001)
329:Mahler
317:Dvořák
309:Brahms
204:Delius
130:) and
867:JSTOR
834:Elgar
740:S2CID
431:Notes
321:Fauré
220:Tudor
200:Elgar
108:(the
906:ISBN
887:ISBN
838:OCLC
818:OCLC
798:OCLC
778:ISSN
732:ISSN
331:and
261:and
202:and
178:and
138:).
78:and
70:and
62:and
43:The
859:doi
855:149
770:doi
724:doi
548:,
122:),
100:of
925::
865:.
853:.
776:.
766:34
764:.
738:.
730:.
720:13
718:.
714:.
662:^
624:^
531:^
493:^
479:^
417:.
389:.
379:.
327:,
323:,
319:,
315:,
311:,
257:,
253:,
249:,
245:,
198:,
161:,
82:.
58:,
914:.
895:.
873:.
861::
844:.
824:.
804:.
784:.
772::
746:.
726::
464:.
134:(
126:(
116:(
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