The British Isles and Beyond: The Performance of Instrumental Music by William Sterndale Bennett during the Long Nineteenth Century

Abstract

Bennett wrote in a variety of instrumental and vocal genres. Some of his most popular pieces during his lifetime comprise anthems, oratorios and cantatas. But his enduring legacy resides with his instrumental output, in particular works that include a pianist. This article begins with an examination of performances that occurred in Britain and in Germany, where Bennett’s close associations with the Mendelssohn circle provided him with substantial encouragement during his formative years. Advances in transportation and increasing globalization led touring artists to travel farther to cities worldwide, bringing with them Bennett repertoire to foreign shores. George Loder, for example, conducted the US premiere of The Wood Nymphs overture at the New York Philharmonic in 1848. Arabella Goddard gave an early American performance of the Piano Sonata Op. 46 (Die Jungfrau von Orleans) in 1875, just two years after its premiere in London. In addition, émigrés from Britain and Germany, especially to Australia, New Zealand and America, contributed to the movement of British music across the globe. In both small towns and large cities, from Melbourne to Auckland, San Francisco to Boston, audiences heard Bennett compositions. In tracing performances of Bennett’s instrumental music before the First World War in both his own country and selected areas outside the British Isles, this research contributes to our understanding of developments in modern concert life as well as the transmission of British music within the Empire and beyond.