Page 91 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 91
in the shadow of parry, stanford and mackenzie ...
the best person to undertake this task because of his strong musicality and
his long experience. His composing achievement was on a level with Pot-
ter’s with a very impressive Symphony in G minor and five Piano Concertos
in imaginative early romantic style.2 Bennett died in 1875, and was succeed-
ed by his pupil, the composer and very able Academy principal, Alexander
Macfarren (1813–1887). With the latter’s death in 1887, the new principal was
another composer, the Scotsman Alexander Mackenzie (1847–1935) who re-
mained until 1924. Thus, it can be seen that the work of this institution was
dominated by composers, even if practical instrumental and vocal skills
formed the bulk of their teaching.
This was equally important later with the founding of the Royal Col-
lege of Music in 18833 and its effect on the teaching of musical composition.
Table 1: Principals of the Royal Academy of Music 1822 to 1949
William Crotch 1822–1832
Cipriani Potter 1832–1859
Charles Lucas 1859–1866
William Sterndale Bennett 1866–1875
George Macfarren 1876–1888
Alexander Mackenzie 1888–1924
John McEwan 1924–1936
Stanley Marchant 1936–1949
As an alternative to the Academy, the National Training School of Mu-
sic, also in London, was formed in 1876 under the composer Arthur Sulli-
van (1842–1900), the composer of numerous successful, popular light op-
erettas4, especially those written to the words of W.S. Gilbert, but was not
operated satisfactorily. The same problem that dogged the activities of the
Academy was the overwhelming influence of the amateurs. Sullivan’s op-
erettas were deservedly popular, and his less well known orchestral works
are particularly impressive, but it appears that he was not successful as a
principal.5 In 1880 Sullivan was replaced by another composer, John Stainer
2 It perhaps an indication of the quality of Bennett’s music that there are currently av-
ailable two commercial recordings of the piano concertos and two of the symphony.
3 See below.
4 Strictly speaking the theatrical works that Sullivan composed to words by W. S. Gil-
bert were known as ‘Savoy Operas’ and not operettas, but they fall into the type, style
and manner of similar works by Offenbach.
5 David Wright, “The South Kensington Music Schools and the Development of the
British Conservatoire in the Late Nineteenth Century,” Journal of the Royal Musical
89
the best person to undertake this task because of his strong musicality and
his long experience. His composing achievement was on a level with Pot-
ter’s with a very impressive Symphony in G minor and five Piano Concertos
in imaginative early romantic style.2 Bennett died in 1875, and was succeed-
ed by his pupil, the composer and very able Academy principal, Alexander
Macfarren (1813–1887). With the latter’s death in 1887, the new principal was
another composer, the Scotsman Alexander Mackenzie (1847–1935) who re-
mained until 1924. Thus, it can be seen that the work of this institution was
dominated by composers, even if practical instrumental and vocal skills
formed the bulk of their teaching.
This was equally important later with the founding of the Royal Col-
lege of Music in 18833 and its effect on the teaching of musical composition.
Table 1: Principals of the Royal Academy of Music 1822 to 1949
William Crotch 1822–1832
Cipriani Potter 1832–1859
Charles Lucas 1859–1866
William Sterndale Bennett 1866–1875
George Macfarren 1876–1888
Alexander Mackenzie 1888–1924
John McEwan 1924–1936
Stanley Marchant 1936–1949
As an alternative to the Academy, the National Training School of Mu-
sic, also in London, was formed in 1876 under the composer Arthur Sulli-
van (1842–1900), the composer of numerous successful, popular light op-
erettas4, especially those written to the words of W.S. Gilbert, but was not
operated satisfactorily. The same problem that dogged the activities of the
Academy was the overwhelming influence of the amateurs. Sullivan’s op-
erettas were deservedly popular, and his less well known orchestral works
are particularly impressive, but it appears that he was not successful as a
principal.5 In 1880 Sullivan was replaced by another composer, John Stainer
2 It perhaps an indication of the quality of Bennett’s music that there are currently av-
ailable two commercial recordings of the piano concertos and two of the symphony.
3 See below.
4 Strictly speaking the theatrical works that Sullivan composed to words by W. S. Gil-
bert were known as ‘Savoy Operas’ and not operettas, but they fall into the type, style
and manner of similar works by Offenbach.
5 David Wright, “The South Kensington Music Schools and the Development of the
British Conservatoire in the Late Nineteenth Century,” Journal of the Royal Musical
89
