Exposition

Did They Throw Tomatoes? The Performer-Audience Relationship in 18th-century England (2019)

Chloe Prendergast
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Student Number 3111644 Supervisor(s) Stefan Petrovic and Jed Wentz Title Did They Throw Tomatoes? The Performer-Audience Relationship in 18-century England Research Question What was the nature of the performer-audience relationship in 18th-century England and how can this influence our relationship with audiences today? Summary With the explosion of the public concert in 18th-century England and the ensuing so called “rage for music”, it is clear that concerts were a vital part of the social life of England’s elite and burgeoning middle class. What created this experience? What roles did both audience and performers play? How did it differ from the ways in which we encounter classical music concerts in the 21st century? This research explores how 18th-century English music was publicly experienced in paid, secular concert settings. It was quite different from what we might now expect in the same setting, and therefore it engendered a vastly different performer-audience relationship than what we often have today. The concert spaces, audience makeup, and concert etiquette each were contributing factors in creating a varied and highly social experience for concertgoers. The aim of this research paper is to illuminate this experience and explore how something similar might be relevantly created in the 21st century. Short Bio Chloe Prendergast is a violinist originally from Denver, Colorado. She is the artistic director of the Beethoven Festival of the Hague, a member of Holland Baroque and the Butter Quartet, and has performed with groups including the Handel and Haydn Society, Pacific Musicworks, Henry Purcell Society of Boston, Baroque Chamber Orchestra of Colorado, Luthers Bach Ensemble, Collegium Ad Mosam, and Arcadia Players. Chloe currently studies at the Royal Conservatory of the Hague with Kati Debretzeni and Walter Reiter. She holds a degree from Willamette University, where she was a Phil Hanni scholar and studied principally with Anthea Kreston and Daniel Rouslin.
typeresearch exposition
keywordsrage for music, 18th century, concert spaces, audience
date29/09/2017
published25/07/2019
last modified25/07/2019
statuspublished
share statusprivate
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/394280/573216
doihttps://doi.org/10.22501/koncon.394280
published inKC Research Portal
portal issue1. Master Research Projects


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id name copyright license
413880 Interior View of Westminster Abbey on the Commemoration of Handel, Taken from the Manager’s Box, Edward Edwards, ca. 1790. Yale Center for British Art All rights reserved
529297 TableMusicalHappenings Simon McVeigh. Concert Life in London from Mozart to Haydn. (Cambridge: Cambridge University Press, 1993), 5. All rights reserved
529369 PantheonArticle “Pantheon.” World (1787) (London, England), Saturday, March 8, 1788; Issue 372. Arts and Entertainment. All rights reserved
573224 MusicBox Concert Introduction Chloe Prendergast All rights reserved
573227 MusicBox Concert Early Clip - Corelli Christmas Concerto Chloe Prendergast All rights reserved
573229 MusicBox Concert Clip 2 - Purcell 3 Parts on a Ground Chloe Prendergast All rights reserved
573568 View Of The Grand Walk, Vauxhall Gardens, With The Orchestra Pavilion, The Organ House, The Turkish Dining Tent And The Statue Of Aurora Public Domain All rights reserved
573569 Scene in a Tavern Public Domain All rights reserved
573570 German opera singer Elisabeth Mara Public Domain All rights reserved
574113 Introduction Chloe Prendergast All rights reserved
574114 0001 Chloe Prendergast All rights reserved
574135 Background Chloe Prendergast All rights reserved
574136 0001 Chloe Prendergast All rights reserved
574143 Types of Concerts Chloe Prendergast All rights reserved
574144 0003 Chloe Prendergast All rights reserved
574145 0002 Chloe Prendergast All rights reserved
574146 0001 Chloe Prendergast All rights reserved
574207 Concert Spaces and Attendance Chloe Prendergast All rights reserved
574208 0004 Chloe Prendergast All rights reserved
574209 0003 Chloe Prendergast All rights reserved
574210 0002 Chloe Prendergast All rights reserved
574211 0001 Chloe Prendergast All rights reserved
575498 Audience Makeup Chloe Prendergast All rights reserved
575499 0004 Chloe Prendergast All rights reserved
575500 0003 Chloe Prendergast All rights reserved
575501 0002 Chloe Prendergast All rights reserved
575502 0001 Chloe Prendergast All rights reserved
575589 Concert Etiquette Chloe Prendergast All rights reserved
575590 0004 Chloe Prendergast All rights reserved
575591 0003 Chloe Prendergast All rights reserved
575592 0005 Chloe Prendergast All rights reserved
575593 0002 Chloe Prendergast All rights reserved
575594 0001 Chloe Prendergast All rights reserved
575672 18th-century Conclusion Chloe Prendergast All rights reserved
575673 0001 Chloe Prendergast All rights reserved
575705 My Own Practical Application Chloe Prendergast All rights reserved
575706 0002 Chloe Prendergast All rights reserved
575707 0001 Chloe Prendergast All rights reserved
575790 References Chloe Prendergast All rights reserved
575791 0001 Chloe Prendergast All rights reserved
575817 MusicBox Carol Singing1 Chloe Prendergast All rights reserved
575821 MusicBox Carol Singing2 Chloe Prendergast All rights reserved
581912 MusicBox logo Chloe Prendergast All rights reserved
581989 The Morning Walk National Gallery London All rights reserved
582009 The Enraged Musician by William Hogarth Public Domain All rights reserved
583343 Table of Contents Chloe Prendergast All rights reserved
583344 0001 Chloe Prendergast All rights reserved

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