Piano music for concert hall and salon c.1830–1900

Abstract

Salon and concert hall Britain was an early pioneer in the development of public concerts: they were well established throughout the country by c. 1750. In France, concerts were equally popular but, as in other aspects of French life and culture, were centred mainly on the capital to a greater extent than were their British counterparts. Public concerts were less in evidence in Germany and Austria until the early nineteenth century, though by then the citizens of Frankfurt, Leipzig, Berlin and Vienna were able to participate in a relatively thriving concert environment. The salon is less easy to describe than a public concert. There had been a long tradition of intellectual gatherings of connoisseurs and aristocrats, but today ‘salon’ usually refers to ‘a part-intellectual and part-social gathering in a domestic (aristocratic or bourgeois) setting: a peculiarly nineteenth-century phenomenon principally found in the larger European capitals’. This is fine as far as it goes, though it is hardly comprehensive, since an all-embracing definition is far from easy. (It is therefore curious that most music dictionaries, including The New Grove , make no attempt to define ‘salon’.) When Amy Fay, the American piano student from Boston, studied with Liszt in Weimar during the 1870s, the salon in which she was invited to perform from time to time was a large room in the ducal palace. These essentially private functions were attended by highly intelligent and articulate, frequently titled, persons: here the depreciatory overtones sometimes suggested by ‘salon’ are inappropriate. The same is equally true of many of the Parisian salons throughout the nineteenth century.