Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family

Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family

Edited by Nicholas Temperley
BYRON ADAMS
RACHEL COWGILL
PETER HOLMAN
Copyright Date: 2016
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 314
https://www.jstor.org/stable/10.7722/j.ctt18kr6s0
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    Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family
    Book Description:

    Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family illuminates three areas that have recently attracted much interest: the musical profession, music in the British provinces and colonies, and English Romantic opera. The Loder family was pre-eminent in Bath's musical world in the early nineteenth century. John David Loder (1788-1846) led the theatre orchestra there from 1807, and later the Philharmonic orchestra and Ancient Concerts in London; he also wrote the leading instruction manual on violin playing and taught violin at the Royal Academy of Music. His son Edward James (1809-65) was a brilliant but underrated composer of opera, songs, and piano music. George Loder (1816-68) was a well-known flautist and conductor who made a name in New York and eventually settled in Adelaide, where he conducted the Australian premieres of Les Huguenots, Faust, and other important operas. Kate Fanny Loder (1825-1904) became a successful pianist and teacher in early Victorian London, and she is only now getting her due as a composer. This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures. It uses them to illustrate several aspects of music history: the position of professional musicians in Victorian society; music in the provinces, especially Bath and Manchester; the Victorian opera libretto; orchestra direction; violin teaching; travelling musicians in the US and Australasia; opera singers and companies; and media responses to English opera. The concluding section is an intense analysis and reassessment of Edward Loder's music, with special emphasis on his greatest work, the opera Raymond and Agnes. NICHOLAS TEMPERLEY is Professor Emeritus of Musicology at the University of Illinois at Urbana-Champaign and is a leading authority on Victorian music. CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja Szuster, Nicholas Temperley

    eISBN: 978-1-78204-689-9
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. List of Illustrations
    (pp. vii-ix)
  4. Acknowledgments
    (pp. x-x)
    Nicholas Temperley
  5. Notes on Contributors
    (pp. xi-xiii)
  6. The Loder Family Tree
    (pp. xiv-xv)
  7. Abbreviations
    (pp. xvi-xvi)
  8. Introduction
    (pp. 1-6)
    Nicholas Temperley

    The musical activities of the Loder family, and hence the scope of this book, straddle the late Georgian and early Victorian periods. Until recently, and certainly when I began my own musicological work in the 1950s, this was the least known and most despised period in British musical history – an embarrassing slump between the ascendancy of Handel and the coming of the ‘English Musical Renaissance’. I did what I could to question this view, but with limited effect on critical or even musicological opinion.

    The last two or three decades, however, have seen a vast increase of interest in...

  9. PART ONE The Musical Profession in Early Nineteenth-Century England

    • CHAPTER 1 Earning a Musical Living: The Loders’ Career Choices
      (pp. 8-23)
      Stephen Banfield

      In the early nineteenth century it was possible to make a decent living as a musician in the English provinces, doing so in one of four or five different ways that had been available since 1700 or earlier. One type of livelihood was that of the waits, liveried municipal musicians paid for since the middle ages by the mayor and corporation of the older boroughs. A second was to be apprenticed as an instrument maker or organ builder. A third living, that of the itinerant singing master, going around the rural districts teaching choirs of young men in weekly rotation...

    • CHAPTER 2 The Musical Life of Bath, 1800–1850
      (pp. 24-41)
      Matthew Spring

      Alfred Barbeau’s judgement on the subject of Bath after 1800 has tended to colour subsequent received opinion.² He notes that in Jane Austen’sNorthanger Abbey(set in the late 1790s) the Thorpes and Allens found that in Bath ‘there was not a genteel face to be seen in the Pump Room.’³ He goes on to say that ‘twenty or thirty years later, it was nothing but a little English town, similar but for its memories, to any other pleasant provincial capital, differing from those only by virtue of its thermal waters, and the presence of the invalids attracted by them.’⁴...

    • CHAPTER 3 The Theatre Royal, Manchester, in Edward Loder’s Time
      (pp. 42-57)
      Liz Cooper

      Long before Edward Loder (1809–65) arrived in Manchester in 1851 in the capacity of musical director at the Theatre Royal, the city had an excellent reputation for its opera productions. There had been several notable seasons and performers in the theatre’s three incarnations. The first Theatre Royal, in Spring Gardens, opened in 1775. Among other works, Thomas Arne’sLove in a Villagewas given there in 1793, with Michael Kelly and his mistress, Anna Maria Crouch, taking the principal parts. The theatre burnt down in 1789 and was rebuilt in the following year, but the company disbanded in 1807....

    • CHAPTER 4 The Climate for Opera in London, 1834–1865
      (pp. 58-74)
      Alison Mero

      On 21 July 1834, Edward Loder’s operaNourjahadopened at the English Opera House in London. AlthoughNourjahadwas not as successful as John Barnett’sMountain Sylph, which premiered a few weeks later, the two operas caught the attention of both audiences and critics and ushered in a new genre of English romantic opera, which would continue to be cultivated and performed for over thirty years. Between 1834 and the genre’s last premiere in 1865 over eighty new English operas were produced. Some of these operas remained a part of the operatic repertoire into the twentieth century. Few opera-goers today...

  10. PART TWO The Loder Family

    • CHAPTER 5 Loder & Sons, Bath: A Band of Musicians
      (pp. 76-105)
      Andrew Clarke

      Whether for Lydia Melford in Tobias Smollett’sThe Expedition of Humphry Clinker(1771) or for Anne Elliot in Jane Austen’sPersuasion(1816), there is no doubt that part of the allure of the concert room in eighteenth-century Bath was that it was a place for watching as well as listening. Lydia writes of music being played in the pump room every morning and describes how the ‘eye is continually entertained with the splendour of dress and equipage’, while Anne, upon attending a benefit concert, is as much concerned with the whereabouts of Captain Wentworth as with the programme itself. While...

    • CHAPTER 6 A Master Violinist and Teacher: John David Loder (1788–1846)
      (pp. 106-124)
      David J. Golby

      The biography of J. D. Loder (1788–1846) is already relatively familiar or readily available to those interested in nineteenth-century British music, and other contributors to this volume have provided valuable further details and insights.² Therefore it should be sufficient merely to remind ourselves briefly of the orphaned child prodigy, son of a Bath-based violinist, who became hugely celebrated as a violinist and leader in his home city; became the first Englishman to lead the orchestra of the Philharmonic Society of London; established himself as a music publisher in Bath; became a professor of violin at the RAM; succeeded Franz...

    • CHAPTER 7 Edward James Loder (1809–1865): A Life in Music
      (pp. 125-148)
      Andrew Lamb

      Edward James Loder was one of a remarkable group of composers of similar age who gave distinction to British music during the early part of Queen Victoria’s reign. Among others were Michael William Balfe (1808–70), Samuel Sebastian Wesley (1810–78), Thomas Attwood Walmisley (1810–56), William Vincent Wallace (1812–65), George Alexander Macfarren (1813–87), Henry Smart (1813–79), Henry Hugo Pierson (1815–73), and William Sterndale Bennett (1816–75). Loder is most readily classed with Balfe, Wallace, and Macfarren for his association with opera during the period from 1834 to 1865 when British (including Irish) works enjoyed a...

    • CHAPTER 8 George Loder’s Contribution to Musical Life in Colonial Australia
      (pp. 149-166)
      Julja Szuster

      Musical life in Australia in the second half of the nineteenth century was enriched by the large number of fine musicians from Britain, continental Europe and the United States who toured the cities and the regions. Many were, understandably, attracted to the goldfields in the 1850s, where money could be made entertaining the miners and other fortune seekers. What sort of life did these itinerant musicians lead in Australia and what impact did they have on the fledgling settlements into which they ventured? An excellent example is George Loder the younger (1816–68). A close investigation of his activity in...

    • CHAPTER 9 ‘A Magnificent Musician’: The Career of Kate Fanny Loder (1825–1904)
      (pp. 167-190)
      Therese Ellsworth

      Women who became professional musicians during the early years of Queen Victoria’s reign often pursued careers as performers, at least for a while, but primarily relied on teaching to earn a living. Yet an increasing number of females turned to composing, thanks in part to the opening of the Royal Academy of Music (RAM) in 1823. Kate Loder followed those three paths – performer, composer, and teacher. Her career as a piano soloist extended until age twenty-nine, just over two years after her marriage, when she gave up public performance. Her activities as a teacher and, to a lesser extent,...

  11. PART THREE The Music of Edward Loder

    • CHAPTER 10 ‘Three fifths of him genius and two fifths sheer fudge’: Heights and Depths in Edward Loder’s Work
      (pp. 192-218)
      Nicholas Temperley

      These words were written of Edward Loder’s exact contemporary, Edgar Allen Poe.¹ It seems to me they apply almost as well to Loder himself. The aesthetic distance that he covered in his output is wide. It can be partly explained, no doubt, by the time and place in which he lived: Stephen Banfield has explored this side of the question in Chapter 1. But it is difficult to accept that a composer who aspired to the heights ofRaymond and Agnesor ‘The Brooklet’ was willing to have his name attached to such ‘fudge’ asFrancis the Firstor ‘Sweet...

    • CHAPTER 11 ‘Ah, trait’ress, me betraying’: Edward Loder and his Librettos
      (pp. 219-235)
      David Chandler

      In 1810 the twenty-four-year-old Charles Edward Horn was commissioned to compose the music for a new melodrama by Sir Lumley Skeffington (1771–1850),The Magic Bride. He had never composed for the theatre before, but felt confident of his abilities, believing he could secure his reputation at a stroke if he wrote the most inspired music of which he was capable. When he heard his melodies played at the rehearsal he felt a thrill of giddy optimism: youthful hubris whispered ‘that Mozart and Haydn only was my superior and that I should some day be their equal’. The music seemed...

    • CHAPTER 12 Edward Loder’s Serious Operas
      (pp. 236-267)
      Paul Rodmell

      The composition of opera clearly represented a heightened activity for Edward Loder. Although only three works in the genre survive (Nourjahad(1834),The Night Dancers(1846) andRaymond and Agnes(1855)), and Loder’s ability to work in this area was, more often than not, inhibited by pressures from elsewhere, it is self-evident from an examination of the surviving scores, and especially those of the latter two works, that Loder both esteemed and loved the genre, and aspired to be remembered as a successful opera composer. This chapter examines these three works which, happily, date from the beginning, middle, and end...

    • CHAPTER 13 Raymond and Agnes: Orchestration and Dramatic Characterisation
      (pp. 268-288)
      Valerie Langfield

      By the time Loder wroteRaymond and Agnes, he had the experience of fifteen dramatic works of one kind or another to draw on. Comparison with an early work,Nourjahadof 1834, and one twelve years later,The Night Dancersof 1846, shows a developing confidence in handling musical structures, and also, as has been shown in the previous chapter, a growing sense of the dramatic. InRaymond and Agnes, Loder is able to demonstrate his ability to use the music to enhance the drama and the characterisation; the notes are not merely a vehicle for the singers.¹

      Loder’s command...

  12. EPILOGUE The 1966 Revival of Raymond and Agnes
    (pp. 289-298)
    Nicholas Temperley

    In 1956, having completed my undergraduate degrees in music at Cambridge, I made a decision that I had been considering for some time. I wanted to choose a topic for my Ph.D. research that would begin to open up the subject of English music of the Romantic era, which I had been exploring. I had become convinced that however much bad music might be attributed to the late Georgian period, the reign of William IV, and the early and mid-Victorian eras, nothing could justify the almost total dismissal of the period that some leading writers had adopted. At the very...

  13. Select Bibliography
    (pp. 299-304)
  14. Index of Edward Loder’s Compositions
    (pp. 305-306)
  15. General Index
    (pp. 307-314)
  16. Back Matter
    (pp. 315-317)