Francais | English | Espanõl

Classical music of the United Kingdom

From Wikipedia, the free encyclopedia

Jump to: navigation, search
Part of a series of articles on
British Music
Image:Flag of the United Kingdom.svg
BPI • OCC

Charts
Singles Chart (#1s; Records)
Album Chart (#1s)
Download Chart (#1s)

Awards
Brit Awards • Mercury Prize

Periods
Pre-1950 • 1950s & 60s
1970s • 1980s
1990s - Present

Origins
England • Scotland • Wales
(Northern) Ireland • Caribbean

Genres
Classical • Britpop • Hip-hop
Opera • Rock • Jazz

Other links
Bands • Festivals • Venues

Timeline
1991 • 1992 • 1993 • 1994 • 1995
1996 • 1997 • 1998 • 1999 • 2000
2001 • 2002 • 2003 • 2004 • 2005
2006 • (full list)

This box: view • talk • edit</div>

This article, Classical music of the United Kingdom, includes a history of the form and discussion of its most notable composers and musicians. Composed music in the UK is traceable back to at least the 13th century and has influenced the wider European development of classical music through individuals ranging from Simon Tunsted, in the fourteenth century, to Benjamin Britten, in the 20th. Well known composers such as Edward Elgar, Vaughan Williams and George Frideric Handel were all from, or did significant work in, the British Isles. The United Kingdom also has a history of orchestras and venues, with the Henry Wood Promenade Concerts having provided an annual music programme of international status, from 1895 to the present.

Contents

[edit] Music before 1500

The earliest surviving piece of composed music in the UK is the setting of the folk song "Sumer Is Icumen In" ("Summer is a-coming in"), sometimes known as the Reading rota because the manuscript comes from Reading Abbey, although it was not necessarily written there. Its composer is anonymous, possibly W. de Wycombe, and it is estimated to date from around 1260. It is notable for its elaborate six-part structure which is virtually unique for such an early piece.

In the fourteenth century, the Franciscan friar Simon Tunsted is believed to have been one of the music theorists who influenced the "Ars Nova"—the movement which freed European music from its earlier restricted styles. He is generally credited with the authorship of "Quatuor Principalia Musicae": a treatise on musical composition.

In the fifteenth century, John Dunstable (or Dunstaple, as it is sometimes spelt) was England's most celebrated composer. Nearly all his manuscript music in England was lost during the Dissolution of the Monasteries, but some of his works have been reconstructed from copies found in continental Europe, particularly in Italy. The existence of these copies is testament to his widespread fame within Europe. He may have been the first composer to provide liturgical music with an instrumental accompaniment[1]

John Hothby (ca. 1410–1487), was an English Carmelite monk, who travelled widely and left little composed music but wrote several theoretical treatises (eg La Calliopea legale), and is credited with introducing innovations to the mediaeval pitch system. These allowed the introduction of additional chromatic pitches into the scales (what we would think of as the black notes of the piano keyboard).

Several aspects of English medieval music led to trends throughout Europe. The treatment of thirds and sixths as consonances seems to have arisen earlier in England than elsewhere, and the practice of fauxbourdon developed in England. Also, the neumatic notation of Sarum chant eventually developed into the square-note notation still used in the Liber usualis and other compendia of Gregorian chant. The earliest evidence of choral polyphony (as opposed to solo ensemble polyphony) is from the Old Hall manuscript (1420, although most of its music was composed before 1400), where there is occasional divisi.

[edit] Music of the 16th and early 17th centuries

Image:Hans Holbein d. J. 049.jpg

In the early 16th century, Henry VIII was a keen patron of music. He played various instruments himself and an inventory, taken after his death in 1547, reveals that he owned a large collection, including 78 recorders. He is sometimes credited with compositions, including the part-song Passetyme With Good Companye but, although it is likely that he learnt the rudiments of composition, no music has been unequivocally attributed to him.

The 16th century was the period of composition of some of Europe's greatest polyphonic choral music and, in Britain, the works of Thomas Tallis stand amongst the best. His Spem in alium is a magnificent motet for 40 independent voices—an amazing polyphonic tour-de-force which is almost without parallel. His legacy also includes the harmonised versions of the plainsong responses of the English church service, still in use by the Church of England.

During this period, music printing (technically more complex than the printing of text) became possible. Although Britain was not leading the music printing revolution, a collection of songs was published in England in 1530 and A forme of Prayers (with music) was published in Edinburgh in 1564. Elizabeth I granted the monopoly of music publishing to Tallis and his pupil William Byrd which has ensured that their works were widely distributed and have survived in various editions, but arguably limited the potential for music publishing in Britain. Byrd wrote church music and instrumental music for viols and keyboard, as well as being one of the founders of madrigal composition.

The English madrigal (based on a form of music imported from Italy) reached its peak with composers such as Thomas Morley, John Dowland, Orlando Gibbons, Thomas Campian, and Thomas Tomkins. A collection of 29 madrigals, edited by Thomas Morley and entitled The Triumphs of Oriana was published in 1603 in honour of Queen Elizabeth.

Music would have been used in the theatre of the time, including within the plays of William Shakespeare. In addition there were masques, a form of lavish musical play where the story was communicated in song but was otherwise quite different in form to an opera [2].

[edit] The Civil War and Commonwealth period (1642-1660)

During the Commonwealth period conditions were hard for professional musicians: the royal court was in exile, the theatres were closed, and church music was prohibited. Many church or collegiate choirs were disbanded and their organs removed or silenced.

There was however no Puritan ban on secular music. Indeed Cromwell had the organ from Magdalen College, Oxford set up at Hampton Court Palace and employed an organist and other musicians. Musical entertainment was provided at official receptions, and at the wedding of Cromwell's daughter.

Music also flourished in domestic settings during the Commonwealth, particularly in the larger private houses. The first opera performed in Britain, promoted by Sir William Davenant, was staged at Rutland House in 1656. In smaller establishments the consort of viols became a popular form whose leading composers were John Jenkins and Matthew Locke.

Since the opportunities for large scale composition and public performance were limited, music under the Protectorate became a largely private matter.

[edit] The Restoration

Samuel Pepys holding one of his own compositions

This period was dominated by Pelham Humfrey and Henry Purcell. Purcell composed church music, festive odes and music for the theatre.

Christopher Simpson's work, The Division Violist, first published in 1659, was for many years the leading manual on playing the viol and on the art of extemporising "divisions to a ground", in Britain and continental Europe. A facsimile edition was reprinted by Arnold Dolmetsch in the 1950s and is still used as a reference by early music revivalists.

The diary of Samuel Pepys, himself a music lover, collector of instruments, and an amateur composer, provides a rich primary source for domestic music in the Restoration period.

[edit] Music of the 18th century

Image:Haendel.jpg

The leading figure in British music of the early 18th century was a naturalized Englishman, George Frideric Handel. Although he was born in Germany, he played a defining role in the music of the UK. His orchestral music (such as the Water Music, and the Music for the Royal Fireworks) and his choral music (particularly the Messiah) virtually set the British taste in music for the next 200 years. Today, they remain amongst the most popular concert works; still account for significant album sales; and are widely performed by amateur ensembles as well as the top professional performers.

In the same period, John Gay wrote his best-known work, The Beggar's Opera (1728), although the music was actually written by Johann Christoph Pepusch. Also, Thomas Arne composed a notable body of work, largely for the theatre, of which his song Rule Britannia is probably the best-known.

In the later part of the century, the home-grown classical music of the UK seems to have suffered a decline, with the public attention focusing on virtuoso performers from overseas and a cultural preference for German and Italian music.

[edit] Music of the 19th century

In the early 19th century, the Irish composer and virtuoso pianist John Field was highly influentual in his style of playing which is thought to have been an inspiration to Schumann, Chopin and Liszt. He is credited with having invented the nocturne as a musical form. Later in the century, another Irishman, Charles Villiers Stanford would also exert a strong musical influence.

During this period, the Edinburgh-born Sir Alexander Campbell Mackenzie was renowned in Britain as a composer and conductor. He celebrated his native Scotland in his two Scottish Rhapsodies for orchestra and in a fantasia for pianoforte and orchestra on Scottish themes.

Sir Arthur Seymour Sullivan is best remembered for his collaborations with the dramatist and librettist William S. Gilbert and for their operettas, such as The Pirates of Penzance (1880), The Mikado (1885) and The Gondoliers (1889).

Towards the end of the century, Edward Elgar gained public acclaim with, for example, the Enigma Variations (1899), his first major orchestral work.

This century saw the trend towards larger orchestras and correspondingly larger musical venues, permitting public concerts for mass audiences. Covent Garden's Royal Opera House was opened in 1858, on the site of an earlier theatre; the Royal Albert Hall was built in 1878. The Crystal Palace concerts were inaugurated in 1855, with August Manns as the principal conductor, directing some 20,000 concerts.

Orchestras which were founded in this period include the Hallé Orchestra, the Royal Liverpool Philharmonic Orchestra and the Royal Scottish National Orchestra. The Royal Philharmonic Orchestra was not founded until 1946.

[edit] Music of the 20th century

James Galway is a flautist virtuoso performer
James Galway is a flautist virtuoso performer

In the early 20th century Britain produced some notable composers: William Wallace, Frederick Delius, Ralph Vaughan Williams, Gustav Holst, Samuel Coleridge-Taylor and John Ireland, for example. A feature of the music of several of the composers of this era was an interest in the use of British folk music as source material. Examples include Vaughan Williams' English Folk Song Suite for brass band and Delius' Brigg Fair as well as subtler references to folk themes in other works.

In the second half of the century, William Walton and Benjamin Britten are of especial note as composers, although there are strong contrasts between their individual approaches to music and its part in the national identity. Walton's work featured fanfares and patriotic themes: for instance he composed the ceremonial marches Crown Imperial, written for the coronation of George VI, and Orb and Sceptre, for that of Elizabeth II. Britten, on the other hand, made a conscious effort to set himself apart from the English musical mainstream, which he regarded as complacent, insular and amateurish. However, his works, such as the operas Peter Grimes (1945), and Billy Budd (1951), as well as his instrumental compositions, including his Nocturnal after John Dowland for guitar (1964), place him amongst the most accomplished composers of the century.

The century continued and developed the concert tradition. Sir Henry Wood's name will forever be associated with The Proms, which started life in 1895 as the Queen's Hall Promenade Concerts, but transferred in 1941 to the Albert Hall, where they are still held. The Aldeburgh Festival, founded by Benjamin Britten is another annual musical event of international status.

The advent of broadcasting and recording technologies have opened the possibility of classical music to larger audiences—without the need for ever larger orchestras. It is arguable that this trend may have contributed to the revival of interest in early music which has been led, in Britain, by such figures as Arnold Dolmetsch and David Munrow.

The late 20th century is often characterised as a period dominated by the Cult of personality and this has affected classical music along with the rest of the arts. This has tended to focus British public attention on virtuoso performers such as James Galway (flautist), John Williams (guitarist), Vanessa Mae (violinist), Aled Jones (vocalist) and others. This elevation of a relative few to "superstar" status has arguably been at the cost of reducing the "ordinary" orchestral instrumentalist to a poorly-paid and under-rated role.

[edit] Music of the 21st century

The Royal College of Music from Prince Consort Road, London

In the present era, classical music in Britain must contend and co-exist with a dominant culture of popular music. Specialist music education at establishments such as the Royal College of Music, Royal Scottish Academy of Music and Drama, Royal Northern College of Music and Guildhall School of Music provide world-class music teaching to gifted classical musicians, though the general level of classical music education in Britain is somewhat limited.

In this century, music, like most other aspects of society, has become globalized, and it is increasingly difficult to speak of "music of the UK" as a separate entity. Gifted UK musicians train and perform all over the world: conversely, many of the places in UK music schools are taken up by overseas musicians, and most concerts are international in their content and their performers.

Composition is alive and well: Peter Maxwell Davies, Julian Anderson and Andrew Lloyd Webber represent very different strands of composition within UK classical music.

[edit] Timeline

<timeline>

  1. Anything after a hash -like this line - is merely a note, not code.
  1. Many of the note lines are for Monarchs and PMs not included for reasons of
  2. space and legibility.
  1. The choice of what to include and not to include is entirely
  2. that of User:Bodnotbod. Feel free to pester him to change things around.
  3. This November 2005 draft is just an early sketch
  4. (albeit taking 15 hours to produce).
  1. Overall size of chart attributes

Preset = TimeHorizontal_AutoPlaceBars_UnitYear ImageSize = width:760

PlotArea = left:0 bottom:100 top:10 right:10 # e.g. extra space to the left and below the plot area for axis labels and legend

  1. Define colors used throughout

Colors =

  1. Structural colors 
 id:lightGray     value:gray(0.9)
 id:gray          value:gray(0.7)
 id:darkGray      value:gray(0.4)

 id:ukc       value:skyblue     
 id:events    value:green
 id:monarchs  value:orange 
 id:pms       value:lavender

BackgroundColors = canvas:lightGray

  1. Next few lines dictate axes, scope, gridlines etc

Period = from:1390 till:2010 ScaleMajor = unit:year increment:25 start:1425 gridcolor:black Legend = orientation:vertical left:49 top:100

LineData = 

 at:1500 color:darkGray layer:back
 at:1600 color:darkGray layer:back
 at:1700 color:darkGray layer:back
 at:1800 color:darkGray layer:back
 at:1900 color:darkGray layer:back


  1. Begin - Bardata defines order of bars throughout + validates typing of names

BarData= 

 barset:Composers 
 barset:Events    
 barset:Monarchs  
 barset:PM


  1. Begin - data about coverage and appearance of timelines

PlotData=

  1. set default appearance of timelines and text 
 width:15 fontsize:M textcolor:black align:left anchor:from shift:(4,-6)

 barset:Composers
 from:start till:end color:ukc align:center anchor:middle text:Composers #Title

 from:1390 till:1453 color:ukc text:J Dunstable
 from:1410 till:1487 color:ukc text:J Hothby
 from:1491 till:1547 color:ukc text:HenryVIII
 from:1505 till:1585 color:ukc text:Tallis
 from:1543 till:1623 color:ukc text:W Byrd
 from:1557 till:1602 color:ukc text:Morley
 from:1563 till:1626 color:ukc text:Dowland
 from:1567 till:1620 color:ukc text:Campion

 barset:break
 barset:skip

 from:1572 till:1656 color:ukc text:Tomkins
 from:1583 till:1625 color:ukc text:Gibbons
 from:1659 till:1695 color:ukc text:P'cell
 from:1685 till:1759 color:ukc text:Handel
 from:1710 till:1778 color:ukc text:Arne
 from:1816 till:1875 color:ukc text:WS Bennett
 from:1842 till:1900 color:ukc text:Sullivan
 from:1848 till:1918 color:ukc text:Parry
 from:1857 till:1934 color:ukc text:Elgar
 from:1913 till:1976 color:ukc text:Britten

 anchor:middle
 width:12

 barset:Events
 color:events
 from:start till:end align:center text:Events
 width:20
 from:1415 till:1415 fontsize:S color:black text:Battle of Agincourt
 barset:break
 barset:skip
 from:1588 till:1588 fontsize:S color:black text:Armada~destroyed shift:(2,2)
 from:1605 till:1605 fontsize:S color:black text:Gunpowder~plot shift:(3,-5)
 from:1605 till:1605 color:black #line fudge for Gunpowder plot
 barset:break
 barset:skip
 from:1642 till:1651 fontsize:S color:events text:English Civil Wars
 from:1707 till:1707 fontsize:S color:black text:"Act of Union 1707" shift:(3,-2)
 barset:break
 barset:skip
 from:1755 till:1755 fontsize:S color:black text:Johnson's~Dictionary shift:(3,4)
from:1800 till:1800 fontsize:S color:black text:"Act of Union 1800" shift:(3,-2)
 barset:break
 barset:skip
 from:1805 till:1805 fontsize:S color:black text:"Trafalgar"
 barset:skip
 from:1832 till:1832 fontsize:S color:black text:"Reform Act 1832"
 barset:break
 barset:skip
 from:1854 till:1856 fontsize:S color:events text:"Crimean War"
 barset:break
 barset:skip
 barset:skip
 from:1914 till:1918 fontsize:S color:events text:"World War I"
 from:1939 till:1945 fontsize:S color:events text:"World War II"




 barset:Monarchs
 color:monarchs
 from:start till:end align:center text:Selected Monarchs (reign) #Title bar
  1. MONARCHS PASTED FROM ANOTHER TEMPLATE BEGINS
  2. The hash before a monarch stops that monarch displaying...
  3. ...therefore monarchs can be toggled on and off. 


 #monarch label attributes
 width:10 fontsize:S textcolor:black align:left anchor:from shift:(4,-6)
  1. from:1066 till:1087 text:William I
  2. from:1087 till:1100 text:William II
  3. from:1100 till:1135 text:Henry I
  4. from:1135 till:1154 text:Stephen
  5. from:1154 till:1189 text:Henry II
  6. from:1189 till:1199 text:Richard I
  7. from:1199 till:1216 text:John
  8. from:1216 till:1272 text:Henry III
  9. from:1272 till:1307 text:Edward I
  10. from:1307 till:1327 text:Edward II
  11. from:1327 till:1377 text:Edward III
  12. from:1377 till:1399 text:Richard II 
 from:1399   till:1413   text:Henry IV
  1. from:1413 till:1422 text:Henry V 
 from:1422   till:1461   text:Henry VI
 from:1461   till:1483   text:Edward IV
  1. from:1483 till:1483 text:Edward V
  2. from:1483 till:1485 text:Richard III 
 from:1485   till:1509   text:Henry VII
 from:1509   till:1547   text:Henry VIII

barset:break
 barset:skip
  1. from:1547 till:1553 text:Edward VI 
 from:1553   till:1558   text:Mary I
 from:1558   till:1603   text:Elizabeth I

 from:1603   till:1625   text:James I
 from:1625   till:1649   text:Charles I
 from:1649   till:1660   text:Interregnum

barset:break
barset:skip

 from:1660   till:1685   text:Charles II
  1. from:1685 till:1688 text:James II
  2. from:1688 till:1694 text:William III & Mary II
  3. from:1694 till:1702 text:William III 
 from:1702   till:1714   text:Anne
 from:1714   till:1727   text:George I
 from:1727   till:1760   text:George II
  from:1760   till:1820   text:George III

 barset:break
 barset:skip

 from:1820   till:1830   text:George IV
  1. from:1830 till:1837 text:William IV 
 from:1837   till:1901   text:Victoria
  1. from:1901 till:1910 text:Edward VII 
 from:1910   till:1936   text:George V
  1. from:1936 till:1936 text:Edward VIII 
 from:1936   till:1952   text:George VI
 from:1952   till:2005   text:Elizabeth II
  1. MONARCHS PASTED FROM ANOTHER TEMPLATE ENDS 
 barset:PM 
 color:pms
 from:start till:end color:pms fontsize:M align:center anchor:middle text:Selected Prime_Minsters_(term of office) #Title
  1. BEGIN PRIME MINISTERS COPIED FROM ANOTHER TEMPLATE 
  from:1721  till:1742 color:pms text:Robert Walpole 'first PM'
  1. from:1742 till:1743 color:pms text:Spencer Compton
  2. from:1743 till:1754 color:pms text:Henry Pelham
  3. from:1754 till:1756 color:pms text:Thomas Pelham-Holles
  4. from:1756 till:1757 color:pms text:William Cavendish
  5. from:1757 till:1762 color:pms text:Thomas Pelham-Holles
  6. from:1762 till:1763 color:pms text:John Stuart
  7. from:1763 till:1765 color:pms text:George Grenville
  8. from:1765 till:1766 color:pms text:Charles Watson-Wentworth
  9. from:1766 till:1768 color:pms text:William Pitt
  10. from:1768 till:1770 color:pms text:Augustus FitzRoy
  11. from:1770 till:1782 color:pms text:Frederick North
  12. from:1782 till:1782 color:pms text:Charles Watson-Wentworth
  13. from:1782 till:1783 color:pms text:William Petty
  14. from:1783 till:1783 color:pms text:William Cavendish-Bentinck 
  from:1783  till:1804 color:pms text:Pitt the Younger #William
  1. from:1801 till:1804 color:pms text:Henry Addington
  2. from:1804 till:1806 color:pms text:William Pitt the Younger
  3. from:1806 till:1807 color:pms text:William Wyndham Grenville
  4. from:1807 till:1809 color:pms text:William Cavendish-Bentinck
  5. from:1809 till:1812 color:pms text:Spencer Perceval 
  from:1812  till:1827 color:pms text:Jenkinson #Robert
  1. from:1827 till:1827 color:pms text:George Canning
  2. from:1827 till:1828 color:pms text:Frederick John Robinson
  3. from:1828 till:1830 color:pms text:Arthur Wellesley 
  from:1830  till:1834 color:pms text:Charles Grey
  1. from:1834 till:1834 color:pms text:William Lamb
  2. from:1834 till:1835 color:pms text:Robert Peel
  3. from:1835 till:1841 color:pms text:William Lamb
  4. from:1841 till:1846 color:pms text:Robert Peel
  5. from:1846 till:1852 color:pms text:John Russell
  6. from:1852 till:1852 color:pms text:Edward Smith-Stanley
  7. from:1852 till:1855 color:pms text:George Hamilton-Gordon
  8. from:1855 till:1858 color:pms text:Henry John Temple
  9. from:1858 till:1859 color:pms text:Edward Smith-Stanley 
  from:1859  till:1865 color:pms text:H J Temple #Henry John
  1. from:1865 till:1866 color:pms text:John Russell
  2. from:1866 till:1868 color:pms text:Edward Smith-Stanley
  3. from:1868 till:1868 color:pms text:Benjamin Disraeli
  4. from:1868 till:1874 color:pms text:William Gladstone 
barset:break
barset:skip

  from:1874  till:1880 color:pms text:Disraeli #Benjamin
  1. from:1880 till:1885 color:pms text:William Gladstone
  2. from:1885 till:1886 color:pms text:Robert Gascoyne-Cecil
  3. from:1886 till:1886 color:pms text:William Gladstone
  4. from:1886 till:1892 color:pms text:Robert Gascoyne-Cecil
  5. from:1892 till:1894 color:pms text:William Gladstone
  6. from:1894 till:1895 color:pms text:Archibald Primrose
  7. from:1895 till:1902 color:pms text:Robert Gascoyne-Cecil
  8. from:1902 till:1905 color:pms text:Arthur Balfour
  9. from:1905 till:1908 color:pms text:Henry Campbell-Bannerman
  10. from:1908 till:1916 color:pms text:Herbert Henry Asquith 
  from:1916  till:1922 color:pms text:Lloyd George #David
  1. from:1922 till:1923 color:pms text:Andrew Bonar Law
  2. from:1923 till:1924 color:pms text:Stanley Baldwin
  3. from:1924 till:1924 color:pms text:Ramsay MacDonald
  4. from:1924 till:1929 color:pms text:Stanley Baldwin
  5. from:1929 till:1935 color:pms text:Ramsay MacDonald
  6. from:1935 till:1937 color:pms text:Stanley Baldwin
  7. from:1937 till:1940 color:pms text:Neville Chamberlain 
  from:1940  till:1945 color:pms text:Churchill #Winston
  1. from:1945 till:1951 color:pms text:Clement Atlee
  2. from:1951 till:1955 color:pms text:Winston Churchill
  3. from:1955 till:1957 color:pms text:Anthony Eden 
  from:1957  till:1963 color:pms text:Macmillan #Harold
  1. from:1963 till:1964 color:pms text:Alec Douglas-Home
  2. from:1964 till:1970 color:pms text:Harold Wilson
  3. from:1970 till:1974 color:pms text:Edward Heath
  4. from:1974 till:1976 color:pms text:Harold Wilson
  5. from:1976 till:1979 color:pms text:James Callaghan
  6. from:1979 till:1990 color:pms text:Margaret Thatcher
  7. from:1990 till:1997 color:pms text:John Major
  8. from:1997 till:end color:pms text:Tony Blair

TextData = 

 textcolor:black fontsize:M
 pos:(30,50) text:"Although not all monarchs and Prime Ministers are displayed they are all present in the timeline"
 pos:(30,38) text:"source code and can be toggled on and off by removing/inserting the hash symbol in the code."
 pos:(30,26) text:"But that may require changes to other formatting."

 pos:(30,3)  text:"Produced with EasyTimeline"
 pos:(500,3) text:"This timeline initiated by Bodnotbod"
  1. Contact User:Bodnotbod if you are unable or
  2. unwilling to make your own changes.

</timeline>

[edit] References

This article draws heavily on (and to some extent summarises) other articles from the category of classical music in the United Kingdom. In addition, it references the following sources:

  • ↑  The Encyclopedia of Classical Music edited by Peter Gammond, Salamander Books, ISBN 0-86101-400-6
  • ↑  Ibid.
  • Percy A. Scholes, The Oxford Companion to Music, Tenth Edition, Oxford University press, 1970
  • Latham, R (1983) The Diary of Samuel Pepys. Volume X — Companion, Bell & Hyman, London. ISBN 0-7135-1993-2. See the entry under "Music" by Richard Luckett, for both the Commonwealth and Restoration periods.

[edit] See also

[edit] External links

Retrieved from "http://en.wikivisual.com/index.php/Classical_music_of_the_United_Kingdom"
Personal tools