Consuming Passions: Leisure and Pleasure in Victorian Britain (93 page)

63
Saxon,
Andrew Ducrow
, pp. 239-41.

64
Bratton,
New Readings in Theatre History
, pp. 41, 50.

65
The Times
, 6 November 1823, p. 1; Saxon,
Enter Foot and Horse
, pp. 99-100.

66
Saxon,
Enter Foot and Horse
, pp. 134, 137-8.

67
Meisel,
Realizations
, p. 218.

68
Mazeppa
, in James L. Smith, ed.,
Victorian Melodramas: Seven English, French and American Melodramas
(London, Dent, 1976), pp. 18-19.

69
Saxon,
Enter Foot and Horse
, p. 182.

70
Altick,
Shows of London
, p. 201.

71
J. Gilliland, ‘Adah Isaacs Menken’, in
Oxford Dictionary of National Biography.

72
All cited in Fawcett,
Rise of English Provincial Art
, pp. 158-9, 161-2.

73
Alfred Bunn,
The Stage: Both Before and Behind the Curtain
(London, Bentley, 1840), vol. 1, pp. 224-5.

74
Percy Fitzgerald,
Principles of Comedy and Dramatic Effect
(London, Tinsley Brothers, 1870), p. 15.

75
Cited in Meisel,
Realizations
, p. 115.

76
Maria Edgeworth,
Belinda
(London, Johnson & Co., 1811), vol. 3, pp. 350-51.

77
Meisel,
Realizations
, pp. 99ff, 111-12.

78
Cited in ibid., pp. 148-9, 157.

79
Henry James,
Notes on Acting and the Drama, 1872-1901
, ed. Allan Wade (London, Rupert Hart-Davis, 1949), p. 148.

80
Cited in Meisel,
Realizations
, p. 174.

81
Cited in Booth,
Victorian Spectacular Theatre
, p. 20.

82
Dramatic Essays [of Leigh Hunt, W. Hazlitt, John Forster and George H. Lewes]
, ed. William Archer and R. W. Lowe (London, Walter Scott, 1894-6), pp. 250-51.

83
Booth,
Victorian Spectacular Theatre
, pp. 32, 57.

84
Alfred Darbyshire,
The Art of the Victorian Stage
, cited in Booth,
Theatre in the Victorian Age
, p. 49.

85
Brewer,
Pleasures of the Imagination
, p. 392.

86
Moody,
Illegitimate Theatre
, pp. 139-40, 130-31, 134; except rhyming couplet: Saxon,
Enter Foot and Horse
, p. 5.

87
Moody,
Illegitimate Theatre
, p. 135.

88
The citations and interpretation from Richard W. Schoch, ‘Shakespeare Mad’, in Gail Marshall and Adrian Poole, eds.,
Victorian Shakespeare
, vol. 1:
Theatre, Drama and Performance
(Basingstoke, Palgrave, 2003), pp. 73-4, 76, 78.

89
Harley Granville-Barker, ‘Exit Planché - Enter Gilbert’, in John Drinkwater, ed.,
The Eighteen-Sixties: Essays by Fellows of the Royal Society of Literature
(Cambridge, Cambridge University Press, 1932), p. 118.

90
Cited in ibid., pp. 114-15, 117.

91
Moody,
Illegitimate Theatre
, pp. 34-7.

92
St Clair,
Reading Nation
, p. 371.

93
Ibid., pp. 368-70.

94
Smith,
Victorian Melodramas
, p. xviii.

95
Cited in Booth,
Victorian Spectacular Theatre
, pp. 2, 69.

96
Cited in Fawcett,
Rise of English Provincial Art
, p. 161.

97
Smith,
Victorian Melodramas
, p. 22.

98
Ibid., pp. 220, 239.

99
Ibid.

100
Alfred Thompson,
Linda of Chamouni, or, Not Formosa, An Operatic Incongruity, in Three Scenes and a Sensation
(London, n.p., n.d. [after 1869]), pp. 25-6.

101
Smith,
Victorian Melodramas
, pp. 157, 168, 174.

102
Cited in Richard Fawkes,
Dion Boucicault: A Biography
(London, Quartet, 1979), p. 71.

103
Schoch, ‘Shakespeare Mad’, in Marshall and Poole,
Victorian Shakespeare
, pp. 74, 76, 79.

104
Booth,
Victorian Spectacular Theatre
, p. 63.

105
Fawkes,
Boucicault
, p. 107.

106
Michael Diamond,
Victorian Sensation, Or, the Spectacular, the Shocking and the Scandalous in Nineteenth-Century Britain
(London, Anthem Press, 2003), p. 222.

107
Smith,
Victorian Melodramas
, p. xx; Booth,
Victorian Spectacular Theatre
, pp. 68-9, 72.

108
Henry Morley,
The Journal of a London Playgoer
(2nd ed., 1891) (Leicester, Leicester University Press, 1974), p. 316.

109
Diamond,
Victorian Sensation
, p. 225.

110
Morley,
Journal of a London Playgoer
, p. 258.

111
Fawkes,
Boucicault
, p. 123.

112
Ibid., p. 148; Diamond,
Victorian Sensation
, pp. 229-30.

113
[Squire and Marie Bancroft],
Mr and Mrs Bancroft on and off the Stage, by themselves
(4th ed., London, Richard Bentley, 1888), vol. 2, p. 308.

114
Edward Ziter,
The Orient on the Victorian Stage
(Cambridge, Cambridge University Press, 2003), p. 1.

115
Morley,
Journal of a London Playgoer
, p. 111.

116
Cited in Reginald Allen, ed.,
The First Night Gilbert and Sullivan
(London, Chappell, 1958), pp. 379-80.

117
Rappaport,
Shopping for Pleasure
, pp. 187, 186.

118
Cited in Joel H. Kaplan and Sheila Stowell,
Theatre and Fashion: Oscar Wilde to the Suffragettes
(Cambridge, Cambridge University Press, 1994), p. 8.

119
Ibid., pp. 8, 19-20.

120
Cited in Erika D. Rappaport, ‘Acts of Consumption: Musical Comedy and the Desire of Exchange’, in Crossick and Jaumain,
Cathedrals of Consumption
, pp. 192-3.

121
Cited in ibid., p. 194.

9:
Going for a Song: The Music Market

1
Cited in Ehrlich,
Music Profession in Britain
, p. 5.

2
Douglas A. Reid, ‘Thomas Britton’, in
Oxford Dictionary of National Biography.

3
Borsay,
English Urban Renaissance
, p. 123.

4
Cited in Brewer,
Pleasures of the Imagination
, p. 366.

5
Plumb, ‘The Commercialization of Leisure’, in McKendrick, Brewer, Plumb,
Birth of a Consumer Society
, p. 279.

6
Simon McVeigh,
Concert Life in London from Mozart to Haydn
(Cambridge, Cambridge University Press, 1993), p. 32.

7
Cited in Brewer,
Pleasures of the Imagination
, pp. 400-401.

8
William Weber,
The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology
(Oxford, Clarendon Press, 1992), p. 19.

9
McVeigh,
Concert Life in London
, p. 75.

10
This is cited in Borsay,
English Urban Renaissance
, pp. 114-15, although it is not clear from the source if that includes the number of Italian composers in Italy as well as in the rest of Europe.

11
Brewer,
Pleasures of the Imagination
, p. 570.

12
Ehrlich,
Music Profession in Britain
, pp. 19-20.

13
Brewer,
Pleasures of the Imagination
, p. 568.

14
Colley,
Britons
, p. 199.

15
Vickery,
Gentleman’s Daughter
, p. 230.

16
Cited in Brewer,
Pleasures of the Imagination
, p. 63.

17
Ibid., pp. 25-8.

18
Burney,
Evelina
, p. 116.

19
McVeigh,
Concert Life in London
, p. 15.

20
Ehrlich:
Music Profession in Britain
, p. 6.

21
Sands,
Pleasure Gardens of Marylebone
, pp. 25, 29.

22
Brewer,
Pleasures of the Imagination
, p. 379; McVeigh,
Concert Life in London
, pp. 111-13.

23
Cited in McVeigh,
Concert Life in London
, pp. 47-8.

24
Burn, ‘Vauxhall Gardens’ pamphlet collection, p. 186.

25
Cited in E. D. Mackerness,
A Social History of English Music
(London, Routledge & Kegan Paul, 1964), p. 108.

26
Cited in Vickery,
Gentleman’s Daughter
, p. 126.

27
Oliver Goldsmith,
The Vicar of Wakefield
(1766), ed. Stephen Coote (Harmondsworth, Penguin, 1986), p. 106.

28
Sands,
Pleasure Gardens of Marylebone
, pp. 57, 69.

29
McVeigh,
Concert Life in London
, p. 67.

30
Richard Leppert, ‘Social Order and the Domestic Consumption of Music’, in Ann Bermingham and John Brewer, eds.,
The Consumption of Culture, 1600-1850: Image, Object, Text
(Routledge, London, 1995), p. 521.

31
Cited in the
Oxford English Dictionary.

32
Loesser,
Men, Women and Pianos
, pp. 220-21, 223.

33
Ibid., pp. 224-7, 241.

34
Ibid., pp. 227-8.

35
Weber,
Rise of Musical Classics
, p. 18.

36
D. W. Drummel, ‘Music Publishing’, in Nicholas Temperley, ed.,
Music in Britain: The Romantic Age, 1800-1914
, vol. 5 of
The Blackwell History of Music in Britain
, gen. ed. Ian Spink (Oxford, Blackwell, 1988), p. 48.

37
Loesser,
Men, Women and Pianos
, p. 252.

38
Plant,
English Book Trade
, pp. 306-7.

39
Loesser,
Men, Women and Pianos
, pp. 251, 229.

40
Mackerness,
Social History of English Music
, p. 107.

41
Loesser,
Men, Women and Pianos
, pp. 252-3.

42
Ibid., p. 251.

43
Ibid., p. 235; Brewer,
Pleasures of the Imagination
, p. 535.

44
Loesser,
Men, Women and Pianos
, pp. 234-5.

45
Ibid., pp. 248-50.

46
Altick,
English Common Reader
, p. 306.

47
Ehrlich,
The Piano
, p. 40.

48
Mathias,
Retailing Revolution
, p. 13.

49
Ehrlich,
The Piano
, pp. 34-6.

50
The Broadwood entries are at no. 518 in the
Official Catalogue
, vol. 2, section 10; William Rolfe and Sons at no. 472; a wide range of pianos can also be found in entries 464a, 467-502.

51
Ehrlich,
The Piano
, pp. 38-9.

52
Ibid., p. 32.

53
Ibid., p. 50.

54
All cited in ibid., p. 100. The 60-guinea piano appears to have incurred no mark-up, according to Ehrlich, but I have not been able to locate a copy of the
Bethnal Green Times
to verify this.

55
Davis and Bonsall,
Bath
, p. 95.

56
Ehrlich,
The Piano
, pp. 69, 71-3, 88.

57
Ehrlich,
Social Emulation and Industrial Progress - the Victorian Piano
(Belfast, Queen’s University, 1975), p. 7.

58
Ibid.

59
Ehrlich,
Music Profession in Britain
, p. 53.

60
Peter Clark and R. A. Houston, ‘Culture and Leisure, 1700-1840’, in Peter Clark, ed.,
The Cambridge Urban History of Britain
, vol. 2:
Culture and Leisure, 1540-1840
(Cambridge, Cambridge University Press, 2000), p. 581.

61
William Weber,
Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna
(London, Croom Helm, 1975), pp. 63-4.

62
Ibid., p. 31.

63
Ibid., p. 16.

64
Ehrlich,
Music Profession in Britain
, pp. 54-5.

65
John Rosselli, ‘Louis Jullien’, in
Oxford Dictionary of National Biography
; Ehrlich,
Music Profession in Britain
, p. 60; Altick,
Shows of London
, p. 330.

66
Hoppen,
Mid-Victorian Generation
, p. 400.

67
Ehrlich,
Music Profession in Britain
, pp. 61-2.

68
Charles Hallé,
The Life and Letters of Sir Charles Hallé, being an autobiography, 1816-1860, with correspondence and diaries
, ed. C. E. Hallé and Marie Hallé (London, Smith Elder & Co., 1896), p. 111.

69
Dave Russell, ‘Musicians in the English Provincial City: Manchester,
c.
1860-1914’, in Christina Bashford and Leanne Langley, eds.,
Music and British Culture, 1785-1914
(Oxford, Oxford University Press, 2000), pp. 238, 239-40; Ehrlich,
Music Profession in Britain
, p. 62.