Use this URL to cite or link to this record in EThOS:
Title: Musical antiquarianism and the madrigal revival in England, 1726-1851
Author: Hobson, James
Awarding Body: University of Bristol
Current Institution: University of Bristol
Date of Award: 2015
Availability of Full Text:
Access from EThOS:
The history of the madrigal in England is a significant one, traversing the final decades of the 16th century to the present day; as a vehicle for music, the madrigal has been an inspiration to composers and singers alike. This thesis surveys the revival of interest in the madrigal from the early 18th century to the mid-19th century; it investigates the madrigal's resurrection through a seminal period of English musical history, and examines its rise in artistic and social contexts where nexuses are established with the Gothic Revival and the re-accommodation, from the late-18th century onwards, of Roman Catholicism in England. The examination of contemporaneous newspapers, musical journals, minute books and other operational apparatus that relate to both metropolitan and provincial madrigal societies has not only revealed how extensive are the existing archives, but has also allowed in-depth investigation and discussion of their meaning and impact. A core group of five antiquarians is also examined: Sir John Leman Rogers (1780-1847), William Hawes (1785-1846), Edward Taylor (1784-1863), Thomas Oliphant (1799-1873), and James Turle(1802-1882). These men were brought together by their fascination for old music under the aegis of the Madrigal Society (whose continuous existence of over 270 years makes it the oldest music-performing society today); they saw themselves as restorers of a long-lost national heritage, and as advocates of a return to excellence in musical composition. The composer Robert Lucas Pearsall (1795-1856), the most prolific of madrigal writers in the 19th-century, was caught up in the tide of the five men's work; the outcome was his production of some of the most exquisite vocal writing of his century. All six of these men are discussed in detail within the thesis. The end of this thesis gathers together the evidence examined, and arrives at the conclusion that despite the consistently small circle of amateurs and connoisseurs for whom madrigal singing was an interest and pastime in the 18th and early 19th centuries, their efforts nurtured and sustained the madrigal, and promoted it as a patriotic emblem of musical achievement. In so doing, they laid the foundation for a second wave of interest that rose again in the early 20th century, and established firmly the madrigal as a constituent part of English musical ipseity.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available