WHAT Smart's tour to Europe in 1825 illustrates most strikingly is that by contrast with other European capitals London remained one of the most fertile environments for the evolution of musical culture, but whilst it is demonstrably true that there was a flourishing concert life in London during the early decades of the nineteenth century, there remained an underlying concern amongst professional musicians that musical culture in Britain had serious shortcomings. The affair of the Royal Academy of Music, and Smart's experiences of concert-giving in the City, provide good examples of the problems that musicians faced when trying to change the musical climate of London. Foreign musicians and composers continued to dominate many areas of musical life, and no British school of symphonic or operatic composition had emerged. It is therefore of crucial importance to examine the evidence we have of the state of music in London in the years after Smart's visit to Europe (from 1826 to 1830), to try to identify those elements that continued to limit innovation, and to see how Smart responded to the findings of his journey. Most importantly, we shall see how he made efforts to introduce European ideas and practices to the rather insular traditions of England, and how he was to broaden the repertoire and outlook of English musicians.

Despite his success and relative wealth as a musician, Smart could not possibly have found the resources to underwrite innovative enterprises on his own, and his well-developed business sense would certainly have prevented him from doing so. Nevertheless, in the light of his travels abroad, he was determined to influence musical life, and the events of the following year provided him with the first opportunity to do so.

❧ Weber and the Covent Garden Theatre

SMART's tour abroad had been well publicised, and shortly after he arrived back in England, the QMMR reported that he had returned with the specific aim to match London's musical activity to that of the continent: