The foregoing chapters have focused on critics’ views about the development of composition, setting the opinions expressed about British music in the wider context of the development of music in general. In this chapter the focus shifts to the views and behaviour of concert-givers and audiences, again setting the provision and reception of native music in the wider context of the provision of music in general.

Music in general

The provision of concerts and recitals expanded considerably during the last twenty years of the century. When commentators used the term ‘renaissance’ they were more often referring to the growth in musical activity and in the public estimation of the art than to a rebirth of native composition. For example, in 1890 the Musical Times claimed that in all classes of society music was more highly esteemed than ever before, and that the growth in the scale of provision was evidence of ‘the great musical awakening which has taken place during the past few years’. This growth is well documented in studies of musicians, festivals, provincial concerts, brass bands, choral societies, etc. Even so, among critics there was a strong current of dissatisfaction mixed with the positive strain. Many critics saw the commercial pressure on the provision of music as a hindrance to artistic progress, and the appearance of flourishing concert life in London as deceptive.

Before the institution of the Queen’s Hall Promenade Concerts in 1895, commentators had been concerned about the poor support given to orchestral concerts. As Cyril Ehrlich notes, personal patronage of music was very limited and there was no government support: all provision was subject to the open market. Much depended on the attitudes of leading personages; in Britain these ‘ranged from indifference to hostility.’ There were no permanent orchestras, and London’s concert halls were inadequate in size and closed for much of the year.

In central London at this time the main concert season was relatively short, from spring to summer. The Crystal Palace season began in October and, with a winter break, continued into the following year.