2.3 The rise of public concerts and music criticism

The rise of public concerts in the 18th century transformed music from a private affair to a public spectacle. This shift was fueled by the growing middle class, improved transportation, and a hunger for cultural experiences. Concerts became a platform for composers to showcase their works and for audiences to engage with music in new ways.

Music criticism emerged alongside public concerts, shaping public opinion and musical tastes. Critics like E.T.A. Hoffmann and Robert Schumann helped define the Romantic aesthetic, while also reflecting Enlightenment values of rational discourse and public education. This new form of writing had far-reaching impacts on musical culture.

Public Concerts: A New Platform

Emergence and Early Venues

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• Public concerts emerged in the 18th century as a new form of musical performance, distinct from the private concerts and court performances that had previously dominated the musical landscape
• Early public concerts were often held in public spaces such as taverns (White's Chocolate House in London), coffee houses, and pleasure gardens (Vauxhall Gardens), and featured a mix of vocal and instrumental music

Subscription Concerts and Concert Halls

• The subscription concert model, in which audiences purchased tickets for a series of concerts, became increasingly popular in the late 18th century, providing a more stable financial basis for concert organizing
• The development of purpose-built concert halls in major European cities, such as the Hanover Square Rooms in London and the Gewandhaus in Leipzig, further institutionalized the public concert as a central feature of musical life

Factors Contributing to Concert Growth

Rise of the Middle Class

• The rise of the middle class, fueled by economic growth and increased social mobility, created a new audience for public concerts with the means and desire to participate in cultural activities
• The Enlightenment emphasis on education and self-improvement encouraged middle-class participation in the arts, including music

Popularity of Instrumental Music

• The increasing popularity of instrumental music, particularly the symphony and concerto, drove demand for public concerts as a venue for showcasing virtuoso performers and new compositions
• The growth of music publishing and the circulation of printed scores made it possible for amateur musicians to learn and perform popular works, further fueling interest in concert attendance

Improved Transportation Networks

• The development of improved transportation networks, such as roads and canals, made it easier for audiences to travel to concert venues and for performers to tour
• This allowed for the expansion of concert series and tours beyond major urban centers, reaching a wider audience

Impact of Public Concerts on Music

Composers and Musical Style

• Public concerts provided composers with new opportunities for exposure and income, as they could earn money from ticket sales and commissions for new works
• The demands of public concerts, such as the need for works that could appeal to a broad audience and showcase virtuosity, influenced the development of musical style in the Classical era
• Composers such as Haydn (Symphony No. 94 "Surprise"), Mozart (Piano Concerto No. 21), and Beethoven (Symphony No. 5) wrote symphonies, concertos, and other works specifically for the public concert setting, taking into account factors such as the size and acoustics of concert halls

Professionalization of Musicians

• The rise of the public concert also led to the emergence of the professional musician as a distinct social and economic category, as performers could earn a living through concert appearances and teaching
• Virtuoso performers, such as violinist Niccolò Paganini and pianist Franz Liszt, became international celebrities through their concert tours and technical prowess

Audience Expectations and Concert Etiquette

• Public concerts created new expectations for audience behavior, such as the practice of applauding between movements and the development of concert etiquette
• The programming of public concerts, which often featured a mix of old and new works, helped to establish the concept of the musical canon and the idea of a repertoire of enduring masterpieces

Music Criticism During the Enlightenment

Emergence of Music Criticism

• Music criticism emerged as a distinct genre of writing in the 18th century, as newspapers and periodicals began to devote space to reviews and commentary on musical performances
• Early music critics, such as Johann Mattheson and Johann Adolph Scheibe, were often composers or musicians themselves, and used their writings to advocate for particular styles or aesthetics

Influence on Public Opinion and Musical Taste

• Music criticism played a key role in shaping public opinion about composers and their works, with positive reviews helping to establish reputations and negative reviews sometimes leading to public controversies
• Critics such as E.T.A. Hoffmann and Robert Schumann helped to define the Romantic aesthetic in music through their writings, which emphasized the expressive power of music and the idea of the composer as a creative genius

Reflection of Enlightenment Values

• The rise of music criticism also reflected the Enlightenment emphasis on rational discourse and the public sphere, as critics aimed to educate and inform their readers about musical works and performances
• Music criticism contributed to the development of a canon of musical masterworks, as critics helped to establish the reputations of composers such as Bach (The Well-Tempered Clavier), Haydn, Mozart, and Beethoven

Wider Social and Cultural Implications

• The influence of music criticism extended beyond the musical world, as critics' opinions could have wider social and cultural implications, such as shaping ideas about national identity or the role of the arts in society
• For example, the debate between supporters of Italian opera and German opera in the early 19th century had political and nationalist overtones, with critics aligning themselves with one side or the other