NEWCASTLE'S MUSICAL HERITAGE AN INTRODUCTION By ...

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dozen names appearing in both orchestras. Furthermore, only two names from the Newcastle Philharmonic appear in the list of around two hundred musicians who went to make up the Society’s and the Union’s orchestras. No women were included, which ruled out most of the Newcastle Symphony Orchestra personnel. This generally serves to highlight further the general attitude towards women in orchestras at this time but also points to the fact that there must have been a goodly number of professional and amateur musicians in the town in the early part of the last century. This once again prompts the question why was Newcastle not able to form a permanent orchestra when it appears to have had the resources. .The Northern Musician’s Benevolent Society, as early as 1896, was proposing more frequent meetings of the orchestra members for practice, which it considered would be a step towards the realisation of the original intention of the promoters of the Society, viz., the establishment of a permanent orchestra. The Newcastle Conservatoire, The Newcastle Philharmonic and the Newcastle Symphony Orchestra did not survive WWII, which is not very surprising. However that in no way diminishes the valuable contribution of those involved in these ventures and their pioneering efforts, in the face of general philistinism, to raise musical standards within the town and establish a musical culture. But it was not to be and it would take more than another half century for their hopes and dreams to be realised. 90
CHAPTER FOURTEEN END OF A GOLDEN AGE An article in the Musical Times, published around the time of the First World War regretted that the war had brought about a deterioration in musical tastes. It said that there was plenty of music but what audiences sought was show and flourish, and theatrical glitter, and were pleased to applaud when they got it. It claimed that general taste had gone back thirty years, when the only interest in a programme lay in the number of popular performers, not in the choice of works, and the article concluded, ‘audiences’ had unwittingly changed’. I think the author was probably commenting, with some regret, on the passing of the old musical order, but it is a fact that cultural standards, if unchecked, do drop in times of war. But then in uncertain times the general public seek escapism not soul searching symphonic works: When separated by war what is Beethoven’s Ninth compared to a simple tune linked to a specific time and place and memory of a loved one. Regardless of the war, however, the many worthy music societies, that had been the mainstay of musical life up until then were dying. Musical interests were becoming less provincial with touring London theatre companies, visiting professional orchestras under conductors who were stamping their own personalities on the performances. It was becoming less a question of whose symphony it was but more a matter of whose interpretation it was. Choral singing was still very popular in the north but raised standards and the fact that people were finding other ways of spending their leisure time was having its effect. The brass band movement was surviving well although its peek had been in the 1890s, when country-wide there had been around 40,000 bands. The movement, however, had organised itself nationally and established a centre for brass band competition at Belle Vue in Manchester. That other mainstay of working class enjoyment, the Music Hall, had long been on the wane, giving way to the more stylish and comfortable variety theatres. During the war and even after it was at the theatres that people found the escapism they were seeking, but the early cinema, the rising popularity of the gramophone, together with the rise of popular music and above all jazz were also claiming attention. However, there was one Newcastle musician who successfully raised musical standards in the city at this period and that was Dr W.G.Whittaker, Mus. Bac., F.R.C.O. In 1915 he founded the Bach Choir, which was to claim recognition beyond the banks of the Tyne and attract the attention of many of the country’s leading composers. <strong>By</strong> 1922 it was taking part in a three-day festival in London and by 1927 was appearing in Germany. The choir also performed at St Margaret’s Westminster and at Oxford. Dr Whittaker became one of England’ leading choral conductors and an authority on Bach. In 1914 he was already doing his bit for the war effort by mounting a Grand War Relief Music Festival at St. James’ Park Football Ground, where a choir and orchestra of one thousand two hundred and fifty performed favourite 91
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NEWCASTLE’S MUSICAL HERITAGE AN I
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A History of Music in Newcastle upo
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my project with a professional man,
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then even in the villages for music
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CHAPTER TWO CHARLES AVISON Charles
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given in Newcastle. They were held
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easoned defences and the citation o
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that he is saddened at the transito
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men sought Royal Patronage, popular
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Avison and began playing the violin
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musical dramatist, his arias are st
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features, Hawdon’s compositions i
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two music academies listed in the D
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An ootlandish chap seun appeared on
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CHAPTER FIVE THE GRAND MUSIC FESTIV
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to Handel Oratorios and I suspect t
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CHAPTER SIX THE HARMONIC SOCIETY In
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would also have been audience parti
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1826. According to Mackenzie’s 18
Page 39 and 40: successful, such as (once again!) H
Page 41 and 42: CHAPTER SEVEN DR WILLIAM REA I had
Page 43 and 44: exclusive civilised affairs, with t
Page 45 and 46: although I can find no evidence tha
Page 47 and 48: In a cemetery now largely overgrown
Page 49 and 50: direction. That is until 1888 when
Page 51 and 52: acceptable standards and he got out
Page 53 and 54: century at least the divide between
Page 55 and 56: the Swedish Nightingale, Jenny Lind
Page 57 and 58: Musical Comedy as we came to know i
Page 59 and 60: In 1887 Augustus Harris took over t
Page 61 and 62: eat, drink or smoke whilst the ente
Page 63 and 64: disposal a substantial orchestra un
Page 65 and 66: only the finest artists. The printe
Page 67 and 68: Cesar Franck. One novel feature int
Page 69 and 70: especially for these bands and they
Page 71 and 72: playing, coupled with the means of
Page 73 and 74: that continued until 1914. One of t
Page 75 and 76: thought of performing with a bunch
Page 77 and 78: She danced a full programme of well
Page 79 and 80: The appearance in Newcastle of Enri
Page 81 and 82: Renaissance. His teaching staff wer
Page 83 and 84: Music at 125 Northumberland Street,
Page 85 and 86: There is surely no need to insist -
Page 87 and 88: alone limited attendance at these c
Page 89: 1936: 17 th June. There had been a
Page 93 and 94: the fact that the town did not have
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Page 97 and 98: CHAPTER FIFTEEN CULTURE AT A PRICE
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Page 109 and 110: country. Amers died in 1936 and God
Page 111 and 112: Author’s Note Since completing th
Page 113 and 114: Select Bibliography Anderton, H.O.,
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